
T.^.DENISON 6c COMPANY CHICAGO - 






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DENiSON'S ACTING PLAYS 

Partial List of Successful and Popular Plays. Large Catalogue Free. 
Price 15c eacli, Postpaid, Unless Different Price is Given 



DRAMAS, COMEDIES, 
ENTERTAINMENTS, Etc. 

M. F. 

Aaron Boggs, Freshman, 3 

acts, 214 hrs (25c) 8 8 

After the Game, 2 acts, 1J4 

hrs (25c) 1 9 

All a Mistake, 3 acts, 2 hrs. 

(25c) 4 4 

American Hustler, 4 acts, 2^ 

hrs (25c) 7 4 

Arabian Nights, 3 acts, 2 hrs. 4 5 
As a Woman Thinketh, 3 acts, 

2y2 hrs (25c) 9 7 

At the End of the Rainbow, 3 

acts, 2^ hrs (25c) 6 14 

Bank Cashier, 4 acts, 2 hrs. 

(25c) 8 4 

Black Heifer, 3 acts, 2 hrs. 

(25c) 9 3 

Brookdale Farm, 4 acts, 2J4 

hrs (25c) 7 3 

Brother Josiah, 3 acts, 2 hrs. 

(25c) 7 4 

Burns Rebellion, 1 hr (25c) 8 5 

Busy Liar, 3 acts, 2% hrs. 

(25c) 7 4 

College Town, 3 acts, 2^ 

hrs (25c) 9 8 

Corner Drug Store, 1 hr. 

(25c) 17 14 

Danger Signal, 2 acts, 2 hrs.. 7 4 
Daughter of the Desert, 4 

acts, 2^ hrs (25c) 6 4 

Down in Dixie, 4 acts, 2^/4 

hrs v25c) 8 4 

Dream That Came True, 3 

acts, 214 hrs (25c) 6 13 

Editor-in-Chief, 1 hr....(25c) 10 
Enchanted Wood, 1^ h.(35c).Optnl. 
Everyyouth, 3 acts, 1 Yz hrs. 

(25c) 7 6 

Face at the Window, 3 acts, 2 

hrs (25c) 4 4 

Fascinators, 40 min (25c) 13 

Fun on the Podunk Limited, 

Wz hrs (25c) 9 14 

Heiress of Hoetown, 3 acts, 2 

hrs (25c) 8 4 

High School Freshman, 3 acts, 

2 hrs (25c) 12 

Honor of a Cowboy, 4 acts, 2^ 

hrs (25c) 13 4 

Indian Days, 1 hr (50c) 5 2 

In Plum Valley, 4 acts, 214 

hrs (25c) 6 4 

Iron Hand, 4 acts, 2 hrs. . (25c) 5 4 
Jayville Junction, 1% hrs. (25c) 14 17 
Kingdom of Heart's Content, 3 

acts, 254 hrs (25c) 6 12 

Lexington, 4 acts, 214 h..(25c) 9 4 



M. F. 

Light Brigade, 40 min.... (25c) 10 
Little Buckshot, 3 acts, 2J4 hrs. 

(25c) 7 4 

Lodge of Kye Tyes^^ 1 hr. (25c)13 
Lonelyville Social Club, 3 acts, 

\V2 hrs (25c) 10 

Man frorri Borneo, 3 acts, 2 

hrs (25c) 5 2 

Man from Nevada, 4 acts, ly^ 

hrs (25c) 9 5 

Mirandy's Minstrels (25c) Optnl. 

New Woman, 3 acts 1 hr.... 3 6 
Old Maid's Club, 1^ hrs. (25c) 2 16 
Old Oaken Bucket, 4 acts, 2 

hrs (25'-') 8 6 

Old School at Hick'ry Holler, 

Wa hrs (25c) 12 9 

On the Little Big Horn, 4 acts, 

ly^ hrs (25c) 10 4 

Out in the Streets, 3 acts, 1 hr. 6 4 
Prairie Rose, 4 acts, 2J^ hrs. 

(25c) 7 4 

Rustic Romeo, 2 acts, 2J4 

hrs (25c) 10 12 

School Ma'am, 4 acts, 1^ hrs. 6 5 
Scrap of Paper, 3 acts, 2 hrs. . 6 6 
Soldier of Fortune, 5 acts, 2^/^ h. 8 3 
Southern Cinderella, 3 acts, 2 

hrs (25c) 7 

Third Degree, 40 min (25c) 12 

Those Dreadful Twins, 3 acts, 

2 hrs .(25c) 6 4 

Tony, The Convict, 5 acts, lYz 

hrs (25c) 7 4 

Topp's Twins, 4 acts, 2 h.(25c) 6 4 
Town Marshal, 4 acts, 2J4 

hrs (25c) 6 3 

Trip to Storyland, 1 J4 hrs. (25c) 17 23 
Uncle Josh, 4 acts, 214 hrs. (25c) 8 3 
Under Blue Skies, 4 acts, 2 

hrs (25c) 7 10 

Under the Laurels, 5 acts, 2 hrs. 6 4 
When the Circus Came to 

Town. 3 acts, 2^ hrs. (25c) 5 3 
Women Who Did, 1 hr. . . (25c) 17 
Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES, COMEDIETAS, Etc. 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Bad Job, 30 min 3 2 

Betsy Baker, 45 min 2 2 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min ... 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min.... 3 5 

Box and Cox. 35 min 2 1 

Case Against Casey, 40 min... 23 
Convention of Papas, 25 min.. 7 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 



T. S. DENISON & COMPANY, Publishers, 154 W. Randolph St. , Chicago 



A TRIAL OF HEARTS 



A COLLEGE COMEDY 

IN FOUR ACTS 



BY 

LINDSEY BARBEE 

AUTHOR OF 

'After the Game, " ''At the End of the Rainbow, " " The Dream That 

Came True, " " The Fifteenth of January, " " The Kingdom, 

of Heart's Content,' ' ' * The Thread of Destiny, ' ' 

** When the Clock Strikes Twelve,'' 

''In the College Days." 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



A TRIA L OF H EARTS 

CHARACTERS. 

Dudley Van Antwerp '. . . . .A Wealthy College Man 

Philip Vivian Dudley's Best' Friend 

Roger Fairfax Flirtatiously Inclined 

Teddy Van Antwerp An Adherent of Kappa Psi 

Jack Harding An Adherent of Delta Chi 

Jerry Jones Gretchens "Pal" 

Mrs. Van Antwerp Of Great Importance 

Honor Van Antwerp Dudley's Wife 

Gretchen Van Antwerp. . AVith a Knozviedge of "Frats" 

Virginia Randolph Dudley's Former Szveetheart 

Elinor Dean A Kappa Psi Senior 

Dorothy Dillon A Delta Chi Alumna 

Patricia Patterson Leader of the Kappa Psis 

Priscilla Prescott Leader of the Delta Chis 

^^ss j Kappa Psi Pledges 

Barbara Lynn A Very Popular Freshman 

Josephine Joyce. . . . | Members of Kappa Psi 

Louise Safford j 

Jean Neal ) 

Irene Merrill [ Members of Delta Chi 

LuciLE Seymour. . . . ) 

Mrs. Putnam Chaperone at Kappa Psi House 

Marie A Maid 

Scene — A College Town. 

Time — Present Day. 

Time of Playing — About Tzvo Hours and Fifteen Minutes. 

Act I — Upper Hall in Mrs. Van Antwerp's Home. Open- 
ing of the College Year. 

Act H — Living Room in Kappa Psi Sorority House. One 
week later. 

Act hi — Library in Mrs. Van Antwerp's Home. Five 
months later. 

Act IV — Reunion Day on the Campus. Three and a half 

years later. 

copyright. 19.15, by eben h. norris. 
2 



m 24 1915 ®^''^ ^^^^^ 






A TRIAL OF HEARTS. 
SYNOPSIS FOR PROGRAM. 



Act I — Gretchen and Jerry play Romeo and Juliet. The 
Freshmen arrive too early. Patsy reads a thrilling letter to 
the Kappa Psis and Barbara is a trifle dazed by the shower 
of invitations. Priscilla urges her Delta Chi forces to meet 
the desperate situation and to "smile and rush." Dorothy 
plays havoc with Roger's heart. Ted pleads the cause of 
Kappa Psi. Jack argues for Delta Chi. Barbara asks for 
time. Philip breaks the news to Mrs. Van Antwerp. Dudley 
introduces Honor to his mother. Virginia learns of Dud- 
ley's marriage. ''I want to go home — oh, I want to go 
home !" 

Act II — Friction in the Kappa Psi house. The football 
enthusiasts bring news of Barbara. Dorothy makes a social 
call and asks the cause of Elinor's pensiveness. Roger's 
perfidy is discovered. Josephine finds Roger's palm very 
interesting. ''After further consideration, we have both de- 
cided to say, no/' Gretchen and Jerry study Latin and argue 
fraternity. Honor finds it all a little strange. ''Promise me 
now, little girl, that if ever the time comes when you need 
lielp — friertdship — you will come to me." Dudley tells Vir- 
ginia his love story. "Oh, Dudley, you hurt me !" Barbara 
pledges Jack her friendship. "There's nothing left for me 
but to go away !" 

Act III — "I wonder if people ever get too busy to care!" 
Mrs. Van Antwerp opens fire and Honor stands her ground. 
"I mean to stay!" Philip to the rescue. "I wish I had no 
heart — it aches so!" "Could you care for someone else?" 
Philip learns the truth. "Dear little girl, it is good-bye." 
Virgina and Dudley grow reminiscent. Honor hears Dudley 
declare his love for Virginia. "Oh, Dad-Dad — your little 
girl is coming home!" 

Act IV — Gretchen^ and Jerry "grow up." Marie and 
Roger "parlez-vous." Roger grows confidential and reveals 
a secret — after interruptions. The Seniors toast the past, 
the present and the future. Mrs. Van Antwerp reproaches 
herself and Dudley grows despondent. Honor tells Philip 
of the "perfect blossom." "Here comes the bride" — and 



4 A TRIAL OF HEARTS. 

the other Kappa Psis. Delta Chi holds a reunion, too. Jack 
asks Barbara a question and is answered. Philip proves that 
he is still Dudley's best friend "and hers." "Honor, is it 
really you?" "If you want me, I am here." 

(First produced by the Gamma Phi Beta Sorority of 
DeuTcr Unircrsity, on February 10. 1911. at the Woman's 
Club Building.) 



STORY OF THE PLAY. 

Dudley A'an Antwerp, aristocratic, wealthy and college 
bred, spends the summer on a \\ yoming ranch and there 
falls in love with the daughter of the owner of the ranch, 
Honor Dale, a sweet but unsophisticated girl, whom he im- 
pulsively marries. Without acquainting his fam^ily of the 
fact, he arrives home with Honor on the night of a large 
entertainment given by his mother. Calling aside his best 
friend. Philip Vivian, he asks him to break the news. He 
does so, and Mrs. \^an Antwerp, who has decided ideas 
upon social distinctions, is not only agitated but indignant. 
When Dudley appears to plead his cause, she not only re- 
proaches him for his sudden step, but declares that this 
marriage will bring nothing but humiliation. Only Dudley's 
threat of leaving home reconciles her to receiving the new 
daughter. Honor, coldly welcomed, accustomed only to love, 
sunshine and freedom, becomes most unhappy in this atmos- 
phere of convention and criticism, but makes no sign of 
discontent. Dudley's sister. Gretchen, becomes her ally, 
and Philip, first pitying the lonely girl, gradually comes to 
love her. Mrgina Randolph, a former sweetheart of Dud- 
ley, once again attracts him and he becomes indifferent to 
Honor. 

At last ]\Irs. \'an Antwerp heartlessly appeals to Honor 
to leave Dudley, telling her that she is a menace to his 
career. Honor bravely answers that her place is by her hus- 
band's side, until she hears from him that he no longer 
loves her. Philip^ finding her in a moment of depression, 
discovers the cause of her unhappiness, knows himself that 
Dudley has begun to weary of her and asks her if she could 



A TRIAL OF HEARTS. 5 

ever care for someone else. Her answer tells him that she 
is ignorant of his love for her and that her heart still 
belongs to Dudley. 

Overhearing Dudley's declaration of love to Virginia, 
Honor leaves the Van Antwerp home, goes back to the 
ranch, and unknown to all but her father and Philip, enters 
an eastern school. Mrs. Van Antwerp is overcome by re- 
morse. Dudley, realizing his love for Honor too late, 
seeks everywhere for her and longs to make reparation. 
Three years later, in company with Barbara Lynn, a class- 
mate, she returns to the home town of the Van Antwerps. 
Philip renounces her forever, proves his friendship for her 
and for Dudley and "the trial of hearts" ends happily. 

As a sub-plot, there is the "rushing season" between Kappa 
Psi and Delta Chi, two college sororities. Barbara Lynn, 
an attractive Freshman, is the victim, and finally overpow- 
ered by the avalanche of attention and unable to decide 
between the two societies, she leaves for another college. 
Fate brings Honor to the same institution, the two become 
fast friends, and together they return for "Reunion Day," 
when Barbara plights her troth to Jack Harding, a former 
sweetheart, and Honor finds Dudley waiting. The irrepres- 
sible Patsy, with her attendant Kappa Psis ; Ted, the en- 
thusiastic "booster" ; "the heavenly twins" ; the unconquer- 
able Delta Chis ; Gretchen and Jerry always quarreling and 
always discussing the fraternity question, all are typical 
college types. Roger Fairfax, a susceptible and flirtatious 
college youth, in ultra devotion to the fair sex, becomes too 
entangled in Cupid's meshes and engages himself to two 
girls at once. These maidens, knowing his weakness, plot 
together, and mischievously leading him on, bring him into 
all kinds of embarrassing situations. Finally, as a climax, 
they chant in unison "We have both decided to say no/' 
Roger, nothing daunted, returning on "Reunion Day," an- 
nounces his coming marriage, and joins the other couples 
who are planning "to live happily forever after." 



6 A TRIAL OF HEARTS. 

CHARACTERS AND COSTUMES. 

In Act I the Kappa Psis, the Delta Chis, Gretchen and 
Barbara wear simple evening dresses and wraps suitable to 
college girls. Elinor, Dorothy, Virginia and Mrs. Van Ant- 
werp appear in more elaborate gowns. Honor wears a sim- 
ple traveling suit and hat ; Marie, a black dress, white cap 
and apron. All the men except Dudley, who appears in a 
dark traveling suit, w^ear conventional evening dress. 

In Act II the men wear afternoon suits, the girls, 
pretty dresses suitable to early fall. Dorothy wears large 
hat and carries a parasol. Mrs. Putnam wears a white 
shirtwaist suit. Bess, Betty and Teddy appear in college 
sweaters, carrying pennants, megaphones, etc. Gretchen . 
wears a sailor suit. 

In Act HI Mrs. Van Antwerp wears an afternoon gown ; 
Virginia an elaborate street suit ; Honor, a simple white 
dress. Dudley and Philip wear conventional afternoon suits. 

In Act IV the girls have pretty summer hats and gowns, 
the men, white flannel suits. Ted, Bess and Betty wear col- 
lege caps and gowns. The men and girls are supposed to 
be college types, Philip being a little older and a little more 
reserved than the others. Honor is sweet, childlike and 
unsophisticated until the third act, when she asserts herself 
for the first time. In the fourth act she returns, a well- 
rounded, self-possessed college woman. 



PROPERTIES. 

Act I — One long sofa, three chairs, one large table, a 
smaller table, vase of flowers, palms for back of stage, 
draperies for window, pillows for sofa, rugs, pictures, etc. 
Plate of ice cream with two spoons, plate of cake for 
Gretchen. Gloves, fan, handkerchief, bag for Roger. Let- 
ter for Patricia. Punch cups for Barbara and Teddy. Lor- 
gnette for Mrs. Van Antwerp. 

Act II — Piano and stool, music, sofa with pillows. Table 
with lamp, books, etc., two chairs. Teddy bear for Patricia. 
Embroidery and book for Mrs. Putnam. Sweaters, pen- 



A TRIAL OF HEARTS. 7 

nants, megaphones, etc., for Bess, Betty and Teddy. Para- 
sol for Dorothy. School books for Jerry and Gretchen. 
Draperies, rugs, pennants, pictures, etc. 

Act III — Draperies, rugs, bookcase and clesk. (These 
last two are not necessary ; other articles of furniture may 
be substituted.) Large library table, mantel, two chairs 
(one large), a hassock. Books, magazines, clock, news- 
papers. 

Act IV — Rustic benches, trees, leaves, etc., for scene. 
Table with punch bowl and glasses. Colors for Gretchen 
and Jerry. Pipe for Teddy. Parasol for Barbara. 



1 'ii:. 



8 



A TRIAL OF HEARTS. 



STAGE SETTING. 

ACT I. 





Hallway / 








Door 

^ /? 

Door </so^« 

T 


Table 
DChalr 


A- 
Door 

Chair /"^ Chair \ 

D fjD 1 

^— ^ French Window 
Table -_ 




ACT II. r 








W 


ainscot Bacl' 
Doorj 


cing 


J. 






^~L 


Door 1 1 Piano 

/ O Stool 
J_ . D Chair 

Door /"^ n Chair 
-j- V^ Table 


Sofa\\ 


window 

I 

Window 

T 


ACT III. 


Hallway 


_L 1 


1 1 UUUf 1 




1 1 


Window 

T 


Door Bookcj 


3se 

O Chalp 
Hassock 


Desk 


/ / D Chair 
/ /Mantel 


D 


Table 


\ 








\ 


ACT IV. 


Trees 


Landscape Drop 

Rustic Seat 
Chair 1 




T 


rees 


Shrubbery 

□ Rustic 


Table ( 


) 









STAGE DIRECTIONS. 
R. means right of stage; C, center; R. C, right center; L., left; 1 E., 
first entrance; U. E., upper entrance; R. 3 E., right entrance, up stage, etc.; 
R. D., right door; L. D., left door, etc.; D. F., door of flat or back of the 
stage; up stage, away from footlights; down stage, near footlights; 1 C, first 
groove, etc. The actor is supposed to be facing the audience. 



A TRIAL OF HEARTS 



Act I. 

Scene: Upper hall of the Van Antzverp home. Wide 
doorzvay at C. in F., showing palms beyond. Small table 
zvith large vase of floivers at the R. of door in F. French 
windozv zvith draperies at L. 2 E. Door at L. U. E. and 
at R. 2 E. and R. U. E. Round table L. C, large chair at 
R. of table and small straight chair at L. of table. Sofa 
at R. C. Chair up R. Scene beautified by rugs, pictures, 
draperies, etc. Since the time of action is evening, at rise, 
scene is illuminated. 

Immediately after rise, Gretchen enters C. in F. zvith 
a plate of ice cream and a plate of cake. She comes dozvn 
C. to table at L. C, hurriedly places cake on the table, and 
holding plate of ice cream behind her, goes to French zjuin- 
dozv at L. 2 E. 

Gretchen (pushing aside curtain). S-st! S-st! Jerry! 
{Whistles.) We're" having a party! {Holding up plate.) 
Ice cream ! Come on up. Nobody's here ; it's early. What? 
Shin up the veranda post ; it's dead easy. Oh, -you can too ; 
be a sport. Coming f Then watch out for that nail half 
way up. {Ecstatically.) Oh, isn't it all romantic. Moon's 
out. I'm Juliet, you're Romeo coming up the fire escape. 
Romeo! Ro-me-oh, what did you tear? Why, Jerry Jones, 
I never heard such swearing. 

Jerry entering at French zvindozv. 

Jerry. Swearin' ? This ain't swearin' ; it's cussin'. Nail, 
indeed ! It was a spike. I tell you — a spike. {Examining 
his clothes.) Seems to me you would have more considera- 
tion for your guests. 

Gretchen {going behind chair at R. of table). Our 
guests, dear child, are not in the habit of entering the house 
in such an unconventional way. 

9 



10 A TRIAL OF HEARTS. 

Jerry (at L. of table). Where's the ice cream? 

Gretchen (disgustedly). Now, that's just Hke you, 
Jerry. Instead of enjoying my company and being inter- 
ested in my conversation, you think of nothing but your 
stomach. 

Jerry (seating himself in chair L. of table). Cut it out, 
Gretchen, and bring on the feed. 

Gretchen (placing plate of ice cream upon the table). 
I'll have to or it will melt. Otherwise I'd make you speak 
for it. (Jerry begins to eat. Gretchen seats herself at R. 
of table. Silence for a fezv moments, then Jerry looks np 
inquisitively. Gretchen, insinuatingly). I put two spoons 
on the plate. 

Jerry (without enthusiasm). So you did. Won't — er — 
won't you help me out? (Resentfully.) You'll have a lot 
more after a while. 

Gretchen (taking spoon). Thank you. I believe I shall. 
Not that I zvant it, but it does make things more sociable. 

Jerry (hopefully). Cut out the sociability. I don't mind. 

Gretchen (helping herself). Cake, please. (Jerry 
passes cake unwillingly.) Ill take this nice, important 
plummy one. (Helps herself.) It reminds me of a Senior, 
swelled out considerably, but (thoughtfully) let's see what's 
inside of it. (Breaks the cake.) Nothing! 

Jerry (reaching). Gimme that pink, green and blue 
thing. It's just like a girl — pretty to look at but horribly 
indigestible. (Takes the cake.) 

Gretchen (taking another). This, Jerry, we shall call 
the fraternity symbol. You can't tell from the outside 
what's inside, but it's beautifully sprinkled with the sugar 
of rushing. 

Jerry (scornftdly). Rushing! 

Gretchen. Rushing, Jerry, is the joy ride of the Fresh- 
man. Sometimes he reaches his destination safely ; some- 
times he's tossed by the wayside ; sometimes he's left high 
and dry with not even an invitation to ride. 

Jerry (loftily). Frats make me tired. 

Gretchen. Sh! Jerry. Don't let anybody hear you say 
that, for (insinuatingly) jon know — 



A TRIAL OF HEARTS. 11 

Jerry (pushing back chair). Gretchen, you know I could 
have made any frat in High School. 

Gretchen (zvearily). All the left-overs say that. Be 
original. 

Jerry (angrily). Don't you call me a left-over. Any- 
way, you may not get asked yourself. 

Gretchen (calmly). Oh, yes I shall. I might mention 
that I have mentality, personality, temperament — and, be- 
sides, I'm a Van Antwerp. 

Jerry. You've forgotten to mention that you're not so 
smart as you think you are; that you're uppish and hate- 
ful, and — 

Gretchen (shrieking). Jerry Jones, I'll hit you if you 
don't stop. How dare you talk to me like that? How dare 
you? And after I got that ice cream for you! 

Jerry. And after I tore my clothes coming for it. No- 
body asked you to save your old ice cream, and (snatching 
plate as Gretchen reaches for it) that's my cake. I don't 
care if it is the last one. 

Gretchen. You pig! You haven't any manners. 

Jerry. Neither have you. You ate more cake than / did. 

Gretchen (furiously). I loathe, abhor, detest, despise, 
abominate you. 

Jerry. That suits me all right. Girls aren't so scarce 
that— 

Gretchen (stamping her foot). Stop it! Stop it, I say! 
I'm glad you tore your old clothes. 

Jerry. They're not old ; they're new. 

Gretchen. And I hope you'll tear them some more when 
you go back. 

Jerry. Tm going back the front way, like a gentleman. 

Gretchen (scornfully). Gentleman! 

Jerry (shrugging shoulders). Lady! 

Gretchen (turning her back). Romeo, indeed! 

Jerry (turning his back). Funny kind of a^Iuliet. (They 
sit in silence. Turning their heads to look stealthily at each 
other, their glances meet and they quickly resume former 
positions. Jerry coughs, no response; he whistles, no 



12 A TRIAL OF HEARTS. 

answer. Jerry, amiably). Football game's next Saturday. 
What time shall I call for you? 

Gretchen {meekly and sweetly). Any time you wish. 

Jerry. Gretchen, I didn't mean all those things I said. 
My fingers were crossed. (Stretches out his hand behind 
him.) 

Gretchen. And my language was (hesitatingly) exag- 
gerated. (Looks around and sees his outstretched hand. 
She moves a little nearer and holds her hand behind her 
back.) 

Jerry (reaching his hand further). You're a good sort 
of pal to have. 

Gretchen (slipping her hand into his). And I just 
know you'll make a frat, Jerry. 

Jerry (turning half way round). Frats aren't so bad 
after all. 

Gretchen (turning a little). It's the dreadful rushing, 
Jerry. Poor little Freshmen, hearts all in a row ; conscious 
that the eyes of the jury are upon them, waiting for the 
verdict. Oh, it's a trial of hearts, Jerry ; a trial of hearts. 

Jerry (turning around). Life isn't much more than a 
trial of hearts, is it? 

Gretchen {facing him). I wonder. We really haven't 
lived long enough to knozv, have we? 

Jerry. Let's have a frat of our own — just you and I. 

Gretchen (rapturously). You and I. The Upsilon Iota. 

Jerry. Where there'll be no joy rides, no rushing and 
no hot air. 

Gretchen. No disillusions, no difficulties, no disap- 
pointments. 

Jerry. Shall we do it? 

Gretchen (grasping his hand). There's my hand on it. 
(Sound of voices is heard off stage.) Oh, the party has 
arrived. 

Jerry (rising and hurrying to French window). Then 
exit Romeo. (Exit, French windozv.) 

Gretchen (rushing to zvindow). Be careful of the nail. 
Good night, Romeo. 



A TRIAL OF HEARTS. 13 

Jerry {from off stage). So long. Juliet. (Gretchen 
straightens chairs, seizes plates and hurriedly exits R. U. E.) 

Enter Bess and Betty, C. in F. 

Bess (looking anxiously around). It's dreadfully early. 
Why, the musicians are just arriving. Whatever possessed 
us to be the very first. Everybody will know we are Fresh- 
men. 

Betty. Well, we are. 

Bess (going down C. to sofa at R. C). There's no use 
in publishing the fact. Let's sit out here awhile ; it will 
take up time. 

Betty (follozving her). But — our — men — 

Bess (seating herself on sofa). Let 'em wait. Mine is 
an old stick, anyway. Takes Greek and Latin. Now, why 
does anyone want to take Greek, I'd like to know. 

Betty (seating herself beside Bess). It comes in very 
nicely in reading fraternity pins. 

Bess. Why, I hadn't thought of that. 

Betty. Bess, if you're man is a stick, mine's a rube. 
What do you suppose he did? 

Bess. Didn't walk on the outside of the sidewalk? 

Betty. Guess again. 

Bess. Forgot to help you off the car? 

Betty (tragically) . Worse than that. 

Bess. Give it up. 

Betty. Took hold of my arm ! Bess, haven't you always 
heard that this is very provincial ? 

Bess. Mercy, yes! 

Betty. Well, I know that I've read just lately that such 
a thing is never permissible, except when the lady is very 
infirm or when she needs assistance. Neither case applies 
so far as I can see. 

Bess. Why do we have to come with such i'diots, any- 
way! If I hadn't wanted to display my colors, I believe I'd 
have stayed at home. 

Betty (pushing back coat and displaying colors). Col- 
ors! Oh, Bess, isn't it grand? Just think of our being 
chosen. I'd rather be a Kappa Psi than anything on earth. 



14 A TRIAL OF HEARTS. 

Enter Marie, C. in F. 

Marie. The young gentlemen are waiting. 

Bess. Let them wait. All things come to them that wait. 
Tell them that Betty fainted and I — 

Betty. Don't you dare ! That escort of mine might think 
that I needed too much assistance going home. 

Bess. Well, tell them we're coming. {To Betty.) I sup- 
pose we might as well take off our things. {Rises and goes 
to R. 2 E.) 

Betty. Just as you say. (Rises and follozvs Bess.) 

Bess {entering R. 2 E.). Has anybody asked you for 
the freshman party? (Exeunt Bess and Betty, R. 2 E.) 
(Marie arranges flowers.) 

Enter Elinor C. in F. Makes way dozvn C, follotved by 
Roger. 

Roger. Now, Elinor, just wait a minute. Give a fellow 
a chance. 

Elinor (at sofa R. C). Not now. Did I give you my 
gloves. (Roger hands them to Jier. She takes them and 
starts off tozvard R. 2 E. Elinor, turning). Oh, I forgot 
my fan. (Roger hands it to her, she starts again, he turns 
in opposite direction and goes to L. U. E. Elinor, stop- 
ping.) Oh, Roger, give me my handkerchief. (Roger 
comes back and hands it to her, Elinor exits R. 2 E. 
Roger exits L. U. E., to reappear almost instantly.) 

Roger (to Marie, who is arranging flozvers). Marie, 
won't you give Miss Dean her bag? She forgot it. (Exits 
L. U. E. Marie takes bag into room off R. 2 E.) 

Enter Louise and Josephine. C. in F., as the dressing 
room door opens at R. 2 E., and Elinor, Bess and Betty 
enter hall fqllozced by Marie, zcho goes out C. in F. 

Josephine (coming dozvn C. and embracing Betty). You 
dear thing ! It's ages since I saw you ! 

Louise (rushing to Elinor at R. C). My dear, that's the 
loveliest gown. 

Enter Patricia. C. in F. 



A TRIAL OF HEARTS. 15 

Patricia {coming down C. to front of stage). Girls! 
I've something serious to say to you. {Impressively.) I've 
discovered a new girl. {Girls crozvd around her. Josephine 
looking over one shoulder, Louise looking over other. Eli- 
nor at R. C.J Bess and Betty at L. C.) Listen. (Opens 
letter.) This letter is from Gertrude Torrance, '04, you 
know. {Reads.) "Dear Patsy: Keep your eyes open for 
Barbara Lynn, who will be in the dormitory. She hails 
from the next town to mine and will be a bright star 
to add to your galaxy of brilliants. I can vouch for the 
family, and while I don't know the girl personally, Pm 
strong for her. Good luck to you, and may many paragons 
fall to the lot of Kappa Psi!" (Patricia dropping into 
chair, R. table). Girls, I received this by afternoon mail. 
I went directly to the dormitory, where the Dean said 
that Miss Lynn would not be there until Monday. Right 
away I said, ''There's a nigger in the woodpile somewhere," 
and — 

Elinor (sinks on sofa). Don't tell us that those old 
Delta Chis had her. 

Patricia. My dear, considering the fact that the Delta 
Chi house is directly opposite ours, we are amazingly slow 
of observation, for they hava been keeping that child for 
the last three days, stuffing her physically and mentally. 

Elinor. How on earth did you find out? 

Patricia. I knew that zve couldn't do anything, so I 
bethought myself of Teddy Van Antwerp, and Teddy acted 
like a little man. 

Betty and Bess (at L. of table). Freshman! 

Patricia (sharply). Never mind his nationality. We 
surmised that she was at the Delta Chi house. Well, Teddy 
knows a fellow wdio lives in her home town, and this gave 
him an excuse — mutual friends, etc. He really didn't know 
whether the man knew her or not, but he risked it, sent up 
his card, saw her and invited her to the party tonight. 
Teddy's done his part — may the saints preserve him, and 
now it's up to us. 

Josephine (at center). Oh, girls, we must win. 

Patricia. Win? For Kappa Psis, there's no such word 



16 A TRIAL OF HEARTS. 

as fail! Listen! (Ttirning head.) Louise, you're to have 
her to luncheon. (Louise nods and seats herself on arm 
of sofa.) Elinor, invite some people tomorrow night for a 
rabbit. 

Elinor. But I have another engagement. 

Patricia. That makes no difference whatever. Break it. 

Elinor {meekly). Just as you say. 

Patricia. Jo, have you anything on for Monday after- 
noon ? 

Josephine {moving to sofa). Several things. Em duly 
grateful for your consideration in asking me, but don't let 
my comfort or convenience — 

Patricia (interrupting). Not in the least. Then you 
must take her out in your motor. (Turning to Bess and 
Betty.) And you pledges, you must play your part zvell. 
Bess, be up on the history of the sorority. Keep the main 
idea to the front, conversation, quality not quantity, and 
impress it. (Bess looks dazed.) Betty, you are to tell about 
our grand and illustrious alumnse. That won't be hard, for 
anybody who has done anything at all has been a Kappa 
Psi. (Rises.) Now listen, all of you! When she comes 
I shall escort her to the dressing room. (To Louise and 
Josephine.) You girls take off your wraps. Hurry. 
(Exeunt Louise and Josephine, R. 2 E.) I expect her 
every minute and we must all be here. 

Enter Louise and Josephine, R. 2 E. 

Louise (at C. glancing around). My, but we're a good 
looking lot. How can a freshman even hesitate. 

Enter Barbara, C. in F., preceded by Marie. She hesi- 
tates, glances at the girls. 

Patricia (advancing to meet her). Oh, this is Miss 
Lynn, is it not? I am Patricia Patterson, and Em just going 
to remove my wraps. (They advance toward R.2 E.) How 
do you like college? And are you at the dormitory? And — 
(exeunt Patricia and Barbara, R. 2 E., and Marie C. 
in F.) 

Josephine. Isn't she a peach? My, but I want her. Do 
you think she looked impressed? 



A TRIAL OF HEARTS. 17 

Enter Patricia and Barbara, R. 2 E. 

Patktcia (advancing zvith Barbara to C). Girls, I do 
want yon to meet Miss Lynn. (Girls crowd around.) This 
is Miss Dean, our Senior. (Elinor at R. C. smiles and 
shakes hands.) And Miss Joyce, the joUiest girl on the 
campus. 

Josephine (at R. C. beside Elinor). So glad to meet 
you. 

Patricia. And Miss Safford, who sings like a nightin- 
gale. (Louise at L. C. smiles and shakes hands.) And 
these are the Heavenly Twins, Bess and Betty. 

Bess and Betty (smiling broadly). Hello! 

Patricia. They are freshmen themselves and can pilot 
you every place. 

Elinor. Now, Miss Lynn, tomorrow night I am to have 
a few friends for a rabbit. Will you come? Ld love to 
haA^e you. 

Barbara. Thank you. FU be so pleased to — 

Josephine. And have you seen the play at the Palace 
Theater this week? (Barbara shakes her head.) No? 
Won't you go with me tomorrow afternoon? 

Barbara. Why, I believe I can. 

Louise. Well, come first and take luncheon with me ; 
then we can all go on together. Won't you? 

Barbara (da::ed). Why — why — yes — only Vm afraid PlI 
get the dates mixed. 

Josephine. Oh, we won't let you. Can't you go motor- 
ing with me next Monday? 

Barbara (fervently). Oh, I'd love to go. L think it's 
splendid of you to take such an interest in me. 

Patricia. My dear, we all want to know you better. 

Barbara. Oh, I think it's beautiful of you and Ell never 
be able to show you just how much I appreciate it all. 

Enter Teddy. C. in F. 

Teddy (coming down C). Oh, here you are. Miss Lynn. 
I thought maybe you were lost and Ed better look you up. 
Met all these people? (Barbara nods.) That's good! 
(Rushing to Bess and Betty.) Got your colors on? Con- 



18 A TRIAL OF HEARTS. 

gratulations. (Shakes hands zvith each.) I tell you, you've 
gone the only way. Gee! I'm glad. Let's shake again. 
(Shakes hands again and turns to Barbara at C.) Shall 
we go down? I want you to meet my mother. (Exeunt 
Teddy and Barbara, C. in F., followed by all the others.) 

Louise (turning at C. in F. to Bess and Betty). With 
whom did you children come? 

Betty (inoiirnfully) . Nobody, it seems. (Exeunt all C. 
in F.) 

Enter Priscilla, Lucile, Jean, C. in F. 

Priscilla (coining dozvn C). Did you see her? Did 
you? With that crowd of Kappa Psis? How did they ever 
learn of her existence? I'll wager that Patsy Patterson is 
at the bottom of it all. (JValks excitedly tip and down, 
throzving her zn-aps L. of stage.) 

Lucile (dropping in chair at L. of table). Nobody can 
take her away from Patsy's clutches. She holds on like 
grim death. 

Jean (sinking on sofa). Pris, can't we have a meeting 
right away? This is a crisis, and — oh, dear, why doesn't 
Irene come? Do you think — 

Enter Irene, C. in F. 

Priscilla (seizing Irene and pushing her in chair R. 
of table). Don't stop to take off your wraps. Drop right 
here. (Kneeling beside her.) Listen! The Kappa Psis have 
discovered Barbara. She's here tonight. Therefore, the 
question is, isn't it better to ask her nozv, before she falls 
under the influence of the Kappa Psis, than to wait until 
a time that is not so propitious ? 

Jean. How are we to get her? Experience has taught 
me that Patsy is better left unmolested. 

Irene. We can't manage to get her off tonight, but I 
know who zvill. (After a moment.) Jack Harding! 

Lucile. The very one. It will be sport to see him tackle 
Teddy Van Antwerp. Then we'll bid her. Is it settled? 

Priscilla (rising). It is. Lucile, will you bid her? 
(Lucile nods.) Irene, will you see Jack and arrange mat- 
ters? (Irene nods and rises.) Oh, there's something else 



A TRIAL OF HEARTS. 19 

before we go clown ; just a minute. Today I saw Louise 
Safiford with that new girl, Mary Ward, and it's simply a 
matter of time until they discover Georgia Wyatt. Now 
what shall we do about these girls, for it isn't right to keep 
rushing them unless we intend to take them. What about 
Mary Ward? 

LuciLE. She's too boisterous. 

Priscilla. Better boisterous than boystruck. 

LuciLE. Granted ; but we don't want either. Oh, I should 
hate to see a Delta Chi pin on her. I don't believe I could 
ever kiss her, and that's such a test. 

Jean. I don't like the way she does her hair and her hat 
is home-made. (Priscilla shakes her head.) Oh, yes, it 
is. I investigated. I'd never vote for her. 

Priscilla (sighing). Then let her go. What do you 
think of Georgia Wyatt? 

LuciLE. She's a combination of ineffectual hairpins and 
struggling belt. In other words, she has left undone the 
things she ought to have done. 

Irene. And she's just the kind that likes dark corners. 
Oh, if she puts on a Delta Chi pin, I take mine off. 

Priscilla (at C). Then there's no use in bothering our- 
selves any longer. But, girls, now we're in for it. (Girls 
crozvd around her. Lucile to R. C, J-ean and Irene L. C.) 
Now is the time to show our mettle. Be tactful, close 
mouthed, politic. Smile and rush ! Don't let the enemy see 
your hand, but keep them guessing. Do your best. Above 
all, be honorable. And then may our stars be lucky ones. 
May the gods be with us! (Exeunt Irene, Lucile, Jean, 
R. 2 E. Priscilla gathers up her zvraps.) 

Enter Dorothy and Roger, C. in F. 

Roger (at chair R. upper stage). Oh, pshaw! I thought 
that this surely would be a secluded spo^, but there are 
signs of life. 

Priscilla (at L. upper stage). Wait just a minute and 
there won't be. 

Dorothy (crossing to Priscilla). Why, Priscilla, dear 



20 A TRIAL OF HEARTS. 

child, what are you doing? And how is the rushing com- 
ing on? 

Priscilla. Oh, we're positively weak from suspense. 
We're to bid her tonight — the little girl the Kappa Psis are 
clinging to. {Rushing to door R. 2 E. and throiving in coat.) 
Oh, won't you say something to her if you get a chance? 
An alumna can make such an impression. 

Dorothy. All right, my dear; I'll do everything I can. 
Run on down. 

Enter Lucile, Irene, Jean, R. 2 E., pass through room. 
Exeunt C. in F., follozved by Priscilla. 

Roger. Are you still at this rushing business? I should 
think you'd get out of practice and that it would get tire- 
some. 

Dorothy (seating herself R. table). As to the first, an 
enthusiastic sorority girl never forgets how to rush — it's 
born with her — it dies with her. As to your second theory, 
why should it be tiresome ? People are always interesting 
to analyze ; why not freshmen ? You know that the proper 
study of mankind is man. 

Roger. And of womankind also. 

Dorothy. No wonder, then, that man is so conceited, 
when the attention of. the universe is centered upon him. 

Roger. It is a trying position. But we are glad to do 
what we can for the happiness and advancement of the 
gentler sex. 

Dorothy. How sweet and considerate of you. This prob- 
ably accounts for the ease with which you are made the 
subject of many psychological experiments. 

Roger. Experiments with what result? 

Dorothy. The inevitable one. namely: the discovery that 
the most strongly developed characteristic is represented 
by the bump of conceit. 

Roger. But that is a necessary evil, in order to match 
the women. 

Dorothy. You forget that an evil becomes less an evil 
when there is good cause for it. 



A TRIAL OF HEARTS. 21 

Roger (whistling). There's psychology for you; or would 
you call it etchics ? Or is it simply that you wish to talk ? 

QoROTHY. We won't argue any side of the question. It's 
too deep. Whenever I am with you, I never bother with 
sense — for nonsense will do as well. 

Roger (crossing to chair at L. table). That doubtless 
explains the mystery of your very apparent desire for my 
company. One likes to lead one's long suit. 

Dorothy. Oh, no. It simply goes to show that I still 
have an interest in child study. 

Roger (sarcastically). How the alumna standpoint does 
change the view! You are, I believe, one year my senior? 

Dorothy. One year, two months, eight days, to be quite 
accurate ; but so mucli older in worldly wisdom. The world 
itself is my textbook. 

Roger. ''While all my books are women's looks 
And folly's all they've taught me." 

Dorothy. Roger, you are beginning to notice things. 
(Suddenly grozving serious.) Listen. I'm tired tonight, 
lonesome for the old life, the campus, the chapel, the larks 
we used to have. (Leaning tozvard him.) I wish I were 
back and I wonder if you miss me — if you want me. 

Roger (leaning across table). Miss you? Should we miss 
the sun if it were suddenly withdrawn? (Dorothy turns 
head azvay.) Should we miss the divine melody if the 
singer were silent ? Should we long for the beauty of the 
flowers if they were forever taken away? And zvant you! 
Oh, if I had a thousand tongues. (Disgustedly.) You're 
not hearing a word I say. (Rises and crosses to sofa, R. 
C.) What are you thinking about, anyway? 

Dorothy. Oh, nothing — just you. 

Roger. I scorn and disdain your answer. I beg you again 
to consider my question. 

Dorothy. Well, I was thinking how remarkably hand- 
some you are. 

Roger (muchly confused). Now, stop your joshing me. 
Do — do you really think so? Of course people have often 
told me that, but — you know — well — 



22 A TRIAL OF HEARTS. 

Dorothy. You didn't finish telling me how much you 
wanted me. You'd gotten to the physiological enormity of 
a thousand tongues, hadn't you? 

Roger. Oh, you knocked out all of my eloquence. Of 
course I want you back. You know that you're such a jolly 
good fellow I couldn't help it. (Hesitates.) Did — did you 
ever hear anyone else say that? 

Dorothy. That I was a jolly good fellow? Oh, lots of 
them. 

Roger. No, I meant what you said a moment ago. That 
— that (sheepishly) I was good looking. 

Dorothy. Oh, quantities of people, especially fresh- 
men. It's a part of the curriculum. Tell me, what kind of 
a team have we this year? . 

Roger (ahsentmindedly, crossing to hack of her chair). 
Oh, fine ! Eleven men on it. Got a coach — a good coach — 
and (leaning forward) Dorothy, you know what we were 
talking about just a minute ago? Why — why — I used to 
be even handsomer. 

Dorothy. I am thankful that I did not know you in your 
palmiest days. 

Roger. Why ? 

Dorothy. Because — ^because — oh, can't you see? My 
heart would have been shredded, and — 

Roger (seizing her hand). Dorothy, Dorothy! I have 
known that i^ must come — that I could not keep from you 
the secret of my love. No, do not stop me, for I must tell 
you. (Dorothy starts to rise. He holds her hack.) No. 
You shall not go until you answer me. 

Dorothy (rising). Listen, someone is calling me. 

Roger. But you will tell me? 

Dorothy. Tomorrow. (Exit R. U. E.) 

Roger (pacing to and fro). Heavens! What have I said? 
Did I ask her to marry me? (Desperately.) I did. Why, 
yesterday I was care free and happy — and now? Oh, but 
Elinor was handsome last night ! How could I help telling 
her how much I loved her and wanted 'her, while she — oh, 
of course, she accepted. And now tonight I forgot Elinor, 
forgot everything but Dorothy, and proposed to her! En- 



A TRIAL OF HEARTS. 23 

■ gaged to two girls at once ! For of course Dorothy will 
accept, too. What in the dickens can I do? Two girls at 
once and no way out of the scrape ! 

Enter Barbara and Teddy zvith punch cups, C. in F. 

Teddy (crossing to sofa R. C). Come over here, Miss 
Lynn. Roger, clear out, for I heard Elinor Dean asking for 
you. 

Roger (tragically). Elinor Dean! 

Teddy. Yes, why not? What's the matter, man? You 
look as if you had been through a threshing machine. 

Roger. Wish I had, Ted. That would be mild. 

Teddy. Miss Lynn, let me introduce Mr. Fairfax. 

Roger (shaking hands). Awfully glad to meet you. 
Freshman? Then you're being well treated? 

Barbara. Oh, I never had such a good time before. 
Everybody is so lovely and — 

Roger. That's because you are as yet an unknown quan- 
tity. Just as soon as the value of X is ascertained — well, 
good-bye! (Exit C. in F.) 

Barbara (seating herself on sofa). What did he mean? 

Teddy (sitting beside her). I don't know; something 
about algebra, I suppose. That has X and unknown quan- 
tities in it. Now isn't it strange that I should know Bob 
Jones and you should come from the very place he lives? 

Barbara. Why, it's very nice, I'm sure. But I don't see 
why it's strange. 

Teddy (hastily). He always used to be talking about 
you, and as soon as I heard you were here — I — 

Barbara. But I barely know him. I can't understand 
why he should even speak of me. 

Teddy (inazuhisper). Shall I reveal his secret? He wor- 
shipped you from afar. 

Barbara. Nonsense. That's very silly, for he's been per- 
fectly devoted to one girl for years. 

Teddy. Such a splendid fellow as he is ! 

Barbara. Oh, he's dreadfully wild. He has been for a 
long time. Why do you want to talk about him? Em not 
interested, although, I used to know his sister. 



24 A TRIAL OF HEARTS. 

Teddy. That's it ! That's it ! Now it all comes to me. His 
sister has written to me about }ou. Why, in her letter last 
month — 

Barbara (horrified). Oh, what are you saying? There 
must be some horrible mistake. She died last winter. 

Teddy (aside). Gosh! But I'm on the wrong track. 
(Aloud.) Why, how sad — poor thing. I must have — why — 
it was the other sister. 

Barbara. But there is no other. You've made some mis- 
take. How did you get such an idea? 

'Teddy (desperately). WHiy, I must have dreamed it. I 
do have the queerest dreams sometimes. But what differ- 
ence does it all make? I know you now and we're going 
to have some jolly times together, I hope. 

Barbara. Oh, I certainly am enjoying myself. This 
welcoming of freshmen is a beautiful custom. 

Teddy. Isn't it, though. (Confidently.) Which way are 
you going? 

Barbara (puzzled). Which way am I going? What do 
you mean? 

Teddy. Why, don't you understand ? Each society wants 
you and you must go one way or the other. 

Barbara. And unless they wanted me, they wouldn't 
give me parties? 

Teddy. Well, I guess not. 

Barbara. Oh, dear; I thought it was just because they 
liked me. 

Teddy. AVell, it is. Aren't the Kappa Psi girls the best 
ever? 

Barbara. They're lovely; but I like the Delta Chis just 
as well. 

Teddy (blankly). Oh, you do? They are nice girls. 
(Suddenly.) See here. Miss Lynn, I want to see you go 
the right way and a man of my fraternity experience. 
(Barbara smiles.) Now, what are you smiling at? 

Barbara. Nothing, only 3^ou are so grandfatherly. Ex- 
cuse me ; go on. 

Teddy. I know just where you'd be the happiest and 



A TRIAL OF HEARTS. 25 

where the girls would be the most congenial, and Kappa 
Psi— 

Barbara (rising). I am grateful for your interest, Mr. 
Van Antwerp, but I am perfectly capable of deciding for 
myself, and nothing you might say in favor of one or the 
other would have the slightest influence with me. 

Teddy (aside). I'll be darned if I bother with her any 
longer. (Aloud.) Pardon my seeming officiousness, Miss 
Lynn. I shall not presume to interfere again. What course 
are you pursuing? Do you enjoy the mountain view and 
how do you like the college life? (Walks to table L. C.) 

Enter Jack, C. in F. 

Jack (coming doivn C. to Barbara). Miss Lynn, I've 
been looking for you everywhere, and here you are all 
alone. (Teddy glares.) 

Barbara (turning tozvard Teddy). Oh, but Mr. Van 
Antwerp has been making it very pleasant for me. 

Jack (turning). Hello, Van! Didn't notice you at all. 
While I think of it, I heard someone down stairs asking 
for you. 

Teddy. Well, the house is not so large but that I can 
be found. 

Jack (sarcastically). But it was a Kappa Psi, and it 
would be too bad to cause a Kappa Psi the least bit of 
anxiety. 

Teddy. The Kappa Psis never suffer any anxiety in re- 
gard to me ; they know my stand. 

Jack (patronizingly). But a freshman's stand is neces- 
sarily unstable. He is never quite firm on his feet. 

Teddy. Oh, I don't know about that. It depends some- 
what on the freshman himself, somewhat on the nature 
of the thing he's standing for, and somewhat upon the sort 
of sophomore he has to butt against. (Takes a step tozvard 
Jack.) 

Jack. Exactly. Therefore, I still cling to my original 
idea. 

Teddy. Quite an idea, too, and since it is an Idea, I don't 
blame you for holding on to it. (Comes nearer.) 



26 A TRIAL OF HEARTS. 

Jack. Now what do you mean by that? (Steps tozuard 
Teddy.) 

Barbara (coming between them). Oh, you two are so 
quarrelsome. Aren't you really good friends, or must fresh- 
men and sophomores disagree? 

Teddy. Disagree? Never in the world. Why, Jack and 
I are the best of friends. 

Jack. A regular Damon and Pythias. We — well — differ 
on some matters, that's all. Ted's a fine fellow. His worst 
fault is being a freshman, but that will be soon outgrown. 

Teddy. I never could sit by and hear myself praised — 
too modest; so Til go. (Starts toward C. in F.) 

Jack. Oh, no, don't think of it. I don't want to drive 
you away, old man. 

Teddy (turning at C. in F.). Oh, I know that perfectly 
well. I also realize that my company is just what you're 
seeking. Nevertheless, I'll go. Miss Lynn, don't forget all 
the pointers I've given you. They'll come in handy. (Exit 
C. in F.) 

Jack (calling off stage to Teddy). Never mind. I'll tell 
her everything you haven't. Cheer up. (Jack, pulling out 
chair R. table). Well, how's the world treating you? 

Barbara (seating herself). Beautifully. Oh, I've had 
such a glorious time, but I really haven't had time to study. 
Does this gayety keep up through all the year? 

Jack (seating himself chair L. table). Oh, no; we have 
occasional lapses into sanity. But, you see, you should join 
a sorority. Then it would be your time to show other 
people the joys of college life. 

Barbara. Oh, I don't like to think about joining a 
sorority. 

Jack. I don't like to think of you joining a sorority, but 
should be rejoiced to hear that you are going into the soror- 
ity. Have you ever met any girls finer than the Delta Chis ? 

Barbara. Never. They are lovely. But the Kappa Psis 
are just as sweet. 

Jack (blankly). Oh, are they? Yes, they are ivcll mean- 
ing girls. 



A TRIAL OF HEARTS. 27 

Barbara. And if they should ask me to join, I wouldn't 
know which way to go. 

Jack {leaning across the table). Let me help you decide. 
I knoiv. The Delta Chis are the finest type of girls — clever, 
accomplished — the only crowd, in fact. Now I want you to 
go to the football game with me next week, and I'd be the 
proudest fellow in the world if you would wear Delta Chi's 
colors then. 

Barbara. But suppose I were to wear Kappa Psis — 
would you still be my friend ? 

Jack. Why — yes, of course, but it couldn't be quite the 
same. 

Barbara {rising and speaking zvith dignity). That will 
do, Mr. Harding. (Jack rises.) Your preference for one 
side doesn't make the slightest impression on me ; for a man 
isn't really loyal to a sorority ; it's to the individual girl, and 
if she turns him down, he goes the other way. Now, 
doesn't he? You knozv he does. No, I am quite able to 
decide for myself. 

Jack. I beg your pardon, Miss Lynn. I didn't mean to 
displease you, and my remarks were made with the best 
intentions in the world. Forget it all and go to the game 
with me just the same. 

Barbara. Even — if? 

Jack. Even if. It's you I want, whatever happens. 

Barbara {giving him her hand). Then I'll go. I'd love 
to go and I like you better. 

Enter Lucile, Irene and Jean, C. in F. 

LuciLE (coming down center, leaving Irene and Jean 
at C. in F.). Oh, Barbara! Here you are. Can you give me 
just a little of your valuable time? (To Jack.) Jack, you'll 
be good and let us have her, won't you? 

Jack. For this time only. Then I'll see you later, Miss 
Lynn. (Moves tozvard C. in F.) 

Irene {as Jack passes her). Thank you, Jack. {Exit 
Jack C. in F.) 

LuciLE (Irene and Jean move to Barbara.) Barbara, 
what I have to say is not from me alone, but from all the 



28 A TRIAL OF HEARTS. 

Delta Chis, and they have commissioned me to ask you to 
be one of us. Will you be a Delta Chi? Will you let us 
pledge you with the colors that are so dear to us ? 

Barbara. Oh, I don't know what to say. I don't know 
what to tJiink. I don't know what to do, but I — 

Jean. Let us decide it all for you. W^e want you and 
we know you will be happy with us. 

Barbara. But it is so important a step and means so 
much to me in after years. I can't decide it all at once. 

LuciLE. But, Barbara, you've known us for three days. 
Isn't that enough time to learn your own mind? Why, 
nobody ever hesitates when a Delta Chi bid is given. 

Barbara. Oh, I want to be sure, and three days isn't so 
very long to get acquainted. Do you think so? 

Jean. Barbara, you're going to say yes to me, aren't you? 
I just can't give you up. 

Barbara. Oh, don't make it so hard for me. Can't you 
see how I feel about it ? I love every one of you. 

Irene. Well, isn't that test enough? ^^^e're the ones 
you'll have to live with. 

Barbara. Won't you let me think about it? Oh, I must. 
I cannot answer you now. 

LuciLE. Well, I wish you could tell us tonight. / don't 
understand how you could hesitate a minute, but of course 
we will give you time. We, too, want you to be very sure 
for it is the most important step you'll ei'cr take. 

Enter Mrs. Van Antwerp, C. in F., follozved by Philip 
Vivian, zvho crosses to L. C. 

Mrs. Van Antwerp {coming down C). Why, girlies, 
why are you all gathered here in solemn conclave ? 

LuciLE. Just a secret, and we're going right down. It's 
a lovely party, dear Mrs. Van Antwerp, and we're having 
the best time. 

Mrs. Van (standing at sofa R. C). I am so glad. We 
want to have you all with us just as often as you can spare 
the time. (Exeunt Lucile. Jean, Irene, Barbara, C. inF.) 
Now, Philip, what have you to tell me? Is it bad news? 

Philip (^crossing to her). Not bad news; at least in the 



A TRIAL OF HEARTS. 29 

sense you mean. It's something I niiisf tell yon, and yet I 
fear I cannot do it in the right way. 

Mrs. Van {sharply). Never mind that. I must know. 
Is it concerning Dudley ? 

Philip. Yes — it is concerning Dudley. 

Mrs. Van {zvith agitation). Is he ill — hurt? Is he — 

Philip. Oh, no, he is all right ; but I may as well tell it — 
he's married. 

Mrs. Van. Married! Married! Without my knowledge? 
Without my consent ? No, Philip, it cannot be — it cannot. 
Tell me it isn't so ; that it is some mistake. (Sei:;es his arm.) 

Philip. Dear Mrs. Van Antwerp, I wish I might, but I 
can't, for it is so. 

Mrs. Van. To whom? 

Philip. To a young girl — Honor Dale — the daughter of 
the old man who owned the ranch in Wyoming, where Dud- 
ley spent the summer. 

Mrs. Van (bitterly). An uneducated, uncultured, com- 
mon-place girl. 

Philip. She must be of some charm or Dudley would 
never have fancied her. 

Mrs. Van. And to think that my son, reared in the midst 
of refinement and culture, trained from his infancy to re- 
spect the social conventions of his own circle, should so 
forget himself as to choose a girl of that stamp. He has 
either been tricked into it or his mind is not quite right. 

Philip. On the contrary, he is quite sane and he has 
entered into the matrimonial bond quite aware of what 
he is doing. 

Mrs. Van (laying hand on Philip's arm). You have 
seen him? Talked with him? 

Philip. Tonight. Listen. He came — rather they came — 
not long ago, intending to surprise you. When he saw that 
you were entertaining, he went to the side door, sent a 
maid for me, told me his story and asked me to break the 
news before he should bring his wife to you. 

Mrs. Van. His wife? Philip, did you see her? 

Philip. Only indistinctly. She spoke once. Her voice 
was sweet, but — (soothingly) do not take it so much to 



30 A TRIAL OF HEARTS. 

heart, Mrs. Van Antwerp. Trust Dudley. We must trust 
him, for he is not the man to choose a wife who would 
bring humiliation to you. He — 

Mrs. Van. Philip, even if she were beautiful, good and 
lovable in disposition, there would be the same disparity in 
birth, breeding and environment. It must, from all stand- 
points, result in an uncongenial marriage. She must needs 
be a drag upon him, a menace to his advancement, the ruin 

of his career. ^ ^ ^ ^ ^^ „ 

Enter Dudley^ L. U. E. 

Dudley. Mother! {Embraces her.) 

Mrs. Van. My boy, how could you? How could you, 
V^ithout my sanction, without my knowledge? 

Dudley. Oh, I should have let you know, mother; I 
know I should ; but it was my old impulsive self. I did it 
all in a moment and — (Exit Philip, L. U. E.) 

Mrs. Van. But, Dudley, to think that you should hurt 
me so ! That you should have stooped to bring home as 
your wife a crude, uneducated girl. 

Dudley. Hush, mother, you must not speak so of 
Honor. She may be crude in the narrow sense you mean ; 
she may lack much that is included between book covers, 
but Nature has taught her far more than can be found in 
the college curriculum. 

Mrs. Van (iiupatienfly). Dudley, you speak foolishly. 
Have you no conception of the nature of social distinc- 
tions ? Do you not realize that a union so absurd, so un- 
natural, will expose you to ridicule and humiliation ; that 
it will result in unhappiness for both ? 

Dudley. Never! Never! Social distinction is nothing. 
She may lack, I grant, the superficial veneer of conventions 
and customs that belong to our class ; but, mother, her heart 
is good and true, she is sweet, innocent and as wholesome 
as her western breezes. Her life has been such a simple 
one. She has lived with her old father, just the two of 
them ; and, oh, mother, I love her, I love her ! 

Mrs. Van {impatiently). Love! What does a boy of 
your age know of love ? You are the victim of an ordinary, 
foolish infatuation. You may admire the girl ; you may 



A TRIAL OF HEARTS. ' 31 

respect her ; you may even have a great affection for her ; 
but as for loving her, you do not know the meaning of the 
word. 

Dudley. Motlier, you forget that I am no longer a boy, 
for when a boy loves with all his heart, his soul, his being, 
he becomes a man. And as a man, you must respect my 
choice. I love this girl — she is my wife, and as my wife, 
I ask your kindness, your patience, your generosity toward 
her. I will not ask you to love her until you know her. 
Then it must come. For my sake, if not for hers, be kind 
to her. 

Mrs. Van. But Dudley, do you expect me to introduce 
this ignorant girl to my friends? To shov/ her the favors 
and attentions that belong to the wife I had hoped and 
dreamed of for you ? 

Dudley {firmly). I ask for her all that is due her as my 
wife — the consideration and respect that is hers by right, 
the toleration that belongs to her through mere civility. 
If you cannot give her this, mother, we shall all be happier 
apart. (Turns and goes toward L. U. E.) 

Mrs. Van (following himi). No, no, Dudley. I cannot 
do without you. I will receive her. I will do my best. 

Dudley (turning and seizing her hands). Mother, I 
knew you would, and you will make her happy, won't you? 
And she — but I'll call her. (Goes to L. U. E. and calls 
off stage.) Honor! 

Enter Honor, L. U. E. 

Dudley (taking her hand). Honor dear, this is my 
'mother. (Honor advances as Mrs. Van raises her lor- 
gnette; she hesitates, goes back to Dudley and slips her 
hand in his.) 

Mrs. Van (with an effort). This Is quite a surprise to 
us. Honor. We shall try to become better acquainted and 
I trust you will be happy. 

Dudley (putting an arm around Honor). Oh, we're 
going to be happy, aren't we? Even happier than we are 
now, if that is possible, and tomorrow I'll show you the 



32 A TRIAL OF HEARTS. 

college and the campus. (Anxiously.) It's all strange now, 
darling, but you'll soon feel at home and — 

Enter Virginia, C. in F. 

Virginia. Dear Mrs. \^an Antwerp, I've been looking for 
you every place. Some of the people wish to say good-bye. 
.(Catching sight of Dudley she hurries to him with out- 
stretched hands.) Why, Dudley, is it really you? And why 
are you giving us this surprise, and when did you come 
and whence — and — (glancmg at Honor.) 

Dudley (holding her hand). It's jolly to see you again, 
Virginia. I just began to realize how long I've been away. 

Virginia. And nary a word have I had from you for 
months. I wrote you the last letter, too. Isn't it humiliating 
to confess? 

Dudley. Oh, I haven't thought of letters for many a 
day. In fact, I've had too much to keep me busy. (Turning 
to Honor.) Virginia, this is my — my wife. 

Virginia (stepping hack). Your wife! What do you 
mean, Dudley? Oh, it isn't so, is it? (Recovering herself, 
taking Honoris hand.) I am so glad to meet you, my dear; 
but it's hardly fair of Dudley to steal a march this way and 
deprive us of the joy of throwing rice and old shoes. I 
hope we'll grow up to be great friends, you and I. 

Dudley. That's just what I want. You two to be the 
best of friends. It's all so strange to Honor now, and you 
can do so much, Virginia, to make her feel at home. 

Virginia. Of course I'll be glad to do anything I can, 
and (to Honor) we'll try our best to rub off the strange 
mess, won't we? And shall we begin by going down stairs, 
and meeting Dudley's friends? 

Mrs. Van (hastily advancing). Not tonight, Virginia. 
Honor is tired and will be glad to rest, I'm sure. 

Dudley (to Virginia). Are all of the old crowd down 
there? All the fellows and — oh, I must see them just for 
a minute. (To Honor.) Honor dear, if you are tired and 
don't want to go, do you mind my running down ? I won't 
be gone but the least little bit of a time and you can wait 
right here for me. You don't mind, do you? 



A TRIAL OF HEARTS. 33 

Honor (in a'zvhisper). No, Dudley — but hurry back — 
I'm afraid. 

Dudley. Afraid? Why, little girl, there's nothing to be 
afraid of; but I won't go; I'll — (Honor shakes her head). 
Sure you don't mind, then? I'll be back before you know it. 
{Exeunt Mrs. Van, Dudley, Virginia, C. in F. Honor 
seats herself in chair R. table for a few moments, takes off 
her hat, goes to zvindozv L. 2 E. and looks out. Music, 
singing and laughing off stage.) 

Honor. And this is his home ; this is his mother. It's all 
so strange to me, so different from what I thought. And 
there's a big lump in my throat and — no, I'm not homesick, 
I'm not sorry I came, for I want to be with Dudley always 
— always. I can't be going to cry. I've never cried ; I've 
always been too happy and — and — (seats herself in chair 
at R. of table) I wonder what they're doing at home. Sup- 
per is over and daddy is sitting alone — alone — and there's 
no one to fill his pipe, no one to light his lamp, no one to 
read his paper. And the boys are talking about me and 
wishing I was there, and daddy's thinking about me — his 
little girl ; his little girl. (Rises.) And the stars are out and 
the boys are singing. There's miles and miles of prairie, as 
far as you can see, and it's all so beautiful and still, with the 
breezes whispering — and it's open and free and — oh, I want 
to go home; I want to go home! (Sinks into chair R. of 
table and puts her head on her arms.) 

Curtain. 



Act II. 



Scene: Living-room in Kappa Psi Sorority House. Prac- 
tical door at L. C. in F., shoiving holhuay beyond zvJien door 
is opened. Windozvs zvith draperies at L. U . E. and L. 2 E. 
Practical door at R. U. E. leading to dining-room; another 
door at R. 2 E. Round table R. C. zvith books, lamp, etc. 
Large chair L. of table and rocking chair R. up stage. Piano 
and stool R. C. in F. Sofa zvith pillozvs L. C. The zvalls 



34 A TRIAL OF HEARTS. 

are covered with college pennants, college pictures and 
college souvenirs. 

At rise Mrs. Putnam is discovered in rocking chair, em- 
broidering. Elinor and Josephine are on the sofa; Louise 
is at the piano ; Patricia is lying prostrate on floor tozvard 
the front of stage, her head on a pile of pillows and is 
clutching a Teddy bear. 

Mrs. Putnam. Louise, you are neglecting your music. 
I have not heard you practice for a week. 

Louise (seating herself at L. of table). But I haven't 
had time to practice. I never expect to have time, and oh, 
dear, I don't feel a bit like singing. Pm so tired and cross 
and — 

Elinor. Something's going to happen — I know it — I 
feel it. 

Patricia {sitting up). Something's going to happen? If 
Barbara Lynn goes Delta Chi — (zuildly) but she can't; she 
won't; she must not. After all this rushing. (Sinks down 
again.) 

Josephine (sitting on edge of sofa). Rushing? Don't 
you dare say rushing to me. I feel as if Pd shriek or do 
something dreadful ! I never want to go to another party. 
I never want to see another new girl. I never want to taste 
ice cream again. Oh, if I must keep on smiling, smiling, 
PU die. Yes, I will. Pll die! 

Mrs. Putnam. Josephine, you are completely unnerved. 
This rushing must stop. Pve borne it now for two weeks, 
and if it continues we shall all be physical wrecks. 

Josephine. Physical wrecks? Financial ones. I am one 
already. 

Louise (crossly). Well, you haven't done any more than 
the rest of us. 

Josephine. Wait till I say I have. I know one thing; 
that if I have to look at Barbara Lynn much longer, Pll — 

Patricia (sitting tip). None of you have suffered as / 
have. I have been the shadow of that girl. I have smiled 
and been lovely until I do it unconsciously. I have taken 
men to call ; I have sent flowers, and yet you all say that I 



A TRIAL OF HEARTS. 35 

haven't done anything, when I've had Kappa Psi's good at 
heart. (Weeps.) 

Louise. Nobody said you didn't do anything! Haven't 
we all worked ourselves to death? Haven't we all — 

Patricia (burying her face in pillows). Everybody in 
this house is so cross. 

Elinor. And you're the Grossest one in it. Oh, if I 
could just go to sleep and sleep and sleep and sleep. (Eli- 
nor puts her head on her arms. Patricia sobs. Louise 
zuipes her eyes. Josephine glares fiercely before her.) 

Mrs. Putnam. Girls! Girls! I am shocked and grieved. 
Never before have I seen such a display of temper. It 
seems a very foolish and trivial thing for one little fresh- 
man to cause all this trouble and turmoil, andT can't under- 
stand why you will not let her make her choice quietly and 
without further demonstration on your part. 

Louise. You don't realize — 

Mrs. Putnam. But I do realize, and I wonder why you 
must all prostrate yourselves before this strange girl until 
she believes that she confers the honor upon you by ac- 
cepting your invitation. Why not make her feel that the 
real honor is the opportunity of joining your ranks? Why 
not let her do the rushing? 

Elinor (looking up). Let her rush usf How perfectly 
terrible. We wouldn't want her, and — 

Enter Bess, Betty and Teddy, L. C. in F. 

Betty (coming down C). Girls! The first half is over 
and the score is six to nothing in our favor ! 

Elinor (indifferently). Is it? 

Teddy (perching on piano stool). And our defence was 
great. Didn't do much at first, but afterwards — well, it was 
this way. The other fellows forced the ball way up the 
field until there was only a few yards to make. Then our 
captain walked calmly over the goal. 

Louise (sadly). Fine, wasn't it? 

Bess (sitting on edge of sofa). And oh. girls, listen! 
There's a new man out for guard — two hundred and forty 



36 A TRIAL OF HEARTS. 

pounds — and the coach says that nobody in the state can 
touch him. 

Patricia (wearily). How fortunate. 

Betty. Oh, dear what is the matter with you all ? I never 
saw anybody so serious and solemn and poky ! Has some- 
thing dreadful happened? 

Bess. And we thought you'd be glad to hear about the 
game; that's why we ran over between halves. Every- 
body's there! The Delta Chis, all the faculty, ilarbara — 

All (starting from their chairs). Barbara! 

Betty (disgustedly). Oh, we might have known what 
was the matter. Mercy! We didn't have such a fuss made 
over us. 

Josephine. \\'ho was with her? 

Bess. Why, Jack Harding. 

Patricia (rising). Jack Harding! Oh, I knew it would 
be this way, and there's no finding out what he has been 
telling her, and she likes him (shrieking) , she likes him, 
do you hear? (Shaking Teddy.) Teddy, why didn't you 
make her fall in love with you? Why do you suppose we 
wanted you? 

Teddy (struggling). Now, Patsy, wait a minute. I'm 
not to blame if she doesn't. I — 

Elinor. Why didn't you take her to the game and not 
let Jack get ahead of you? 

Teddy (humbly). I asked the twins. 

Louise (scornfully). The tzvins — the twins! Why, any- 
body could have taken them! Oh, dear! Oh, dear! (Hides 
face in hands.) 

Patricia. I've given up all hope now. (Sobs.) How can 
you children be so light-hearted, so care-free, when so 
much is at stake? 

Bess (rising). Well, if Barbara Lynn goes to Delta Chi, 
let her go ! I'll be sorry, of course ; but I shan't let it make 
me sour and cross. I can't help being happy. Why, the sky 
is so blue — 

Betty. And everything is such fun. 

Bess. And people are so good to us. 



A TRIAL OF HEARTS. 37 

Betty {going to Bess). And oh, Bess, we're Kappa 
Psis. {Embracing each other.) 

Teddy {rising). I feel awfully cut up about this busi- 
ness. I honestly didn't mean to be careless about rushing 
her for you, but you see — 

Patricia (loftily). Never mind, Theodore. It is more 
a sin of omission than of commission. Are you coming to 
dinner tonight? 

Teddy. You bet ! Dudley can't come till later, but Philip 
will bring Honor. Say, now, it's good of you girls, and I'll 
do anything for you. Just tell me and — 

Bess {pulling Betty toivard L. C. in F.). Most time for 
the second half. Come on, Teddy. {Exeunt Bess, Betty, 
Teddy, L. C. in F.) 

Betty enters again hurriedly from L. C. in F. 

Betty {at door). Girls! Here comes Dorothy Dillon and 
she's coming here, and she's a Delta Chi, and oh, do cheer 
up and don't let her see you like this. {Exit L. C. in F.) 

Elinor. Oh, dear! Why can't people leave us alone. 
We don't want to see any old Delta Chis. 

Patricia {hustling about). Girls! Get right up! {Exit 
Mrs. Putnam, R. U. E. Much laughing and singing as 
girls move about.) 

Enter Dorothy, L. C. in F. 

Dorothy {at door). What a good time you're having. 
I just couldn't pass without stopping. Sure you haven't 
anything on hand? 

Josephine {going to her). Not a thing. We were just 
talking about you and wishing you would happen in. 

Dorothy. How sweet of you even to think of me. But 
why aren't you all at the game? 

Patricia. Well, to tell the truth, Dorothy, we have been 
so busy these last two weeks {significantly), you under- 
stand, that we haven't had a chance to visit with each other. 
So today we just took the time, and we've been having the 
cheeriest kind of an afternoon together. {Stands at back 
of sofa.) 



38 A TRIAL OF HEARTS. 

Dorothy (seating herself on sofa). Which I've inter- 
rupted. 

Louise. Please don't say that. We're more than happy 
to share our good times with you. Tell us about yourself. 

Dorothy. There's nothing to tell. LVe been doing a great 
deal of nothing. I positively envy you the college life. I 
miss it terribly. (Elinor seats herself at L. of table.) 

Josephine (sitting by Dorothy). Do you, really? At 
present a degree seems a far off blessing. 

Dorothy. Nonsense, and you — a junior! What are you, 
Pat? Another junior? (Patricia nods.) And Louise a 
soph? (Louise nods.) And Elinor the reverend senior? 
Dear me, Elinor, why so pensive ? That pale cast of thought 
should be reserved for examination time only. 

Elinor. Girls, Pm in an awful scrape! This is the first 
opportunity Pve really had to think about it all, and I 
simply must tell you and get your advice. You remember 
Roger Fairfax, Dorothy? 

Dorothy (smiling). Yes, I believe I do. 

Elinor. Good looking fellow and the worst flirt that 
ever used his eyes. The proposal habit is firmly fixed upon 
him and he often indulges in the art with no thought of 
being accepted. 

Louise (moving to window L. U. E.). Elinor, you don't 
mean that — 

Elinor. Let me finish. At the Seymour's reception he 
took me into the conservatory. Before he realized it he was 
telling me the old story with customary grace and I turned 
the tables by accepting him. 

Josephine. You didn't, really? 

Elinor. Yes, I did, and now how will I ever get out of 
it? Suppose he should really care? 

Dorothy. But he doesn't, my dear. No, don't look stir- 
prised, for he repeated the same performance with m.e at 
Mrs. Van Antwerp's, and I, just for the fun of the thing, 
accepted him also. 

Elinor. Why — why, Dorothy, do you mean it? Aren't 
you joking? (Rises and moves to C.) 

Dorothy. Never in the world. It is a fact, my dear, that 



A TRIAL OF HEARTS. 39 

at present we are both in our right minds and are both 
affianced to the Honorable Roger Fairfax ! Now, the ques- 
tions is, how shall we turn him down ? 

Louise {at zvindow). Well, you'll have a chance to settle 
that right away, for here he comes. 

Dorothy {rising hastily). Oh, he must not see me! Wait, 
Elinor; listen! {Whispers zvith her.) Here, girls, let me 
hide in another room. {Exeunt Josephine, Dorothy, 
Louise, Patricia, R.'2 E.) 

Enter Roger, L. C. in F. 

Roger {rushing to Elinor). Elinor! 

Elinor {sinking on sofa). Wait, Roger. Don't be too 
fervent. I haven't had time to get used to existing condi- 
tions. 

Roger. Elinor, you are a cold-hearted creature ! Here 
I've been counting the minutes until I should see you, talk 
with you, touch your hand. {Leans over her.) 

Enter Mrs. Putnam, R. U. E., unseen by Roger. 

Mrs. Putnam. Good afternoon, Mr. Fairfax. 

Roger {starting). Mrs. Putnam, I am delighted to see 
you. I presume you are on your way for a walk. The day 
is delightful. 

Mrs. Putnam. Isn't it? No, I had my walk early this 
morning and am quite ready to be quiet now. {Seating 
herself in chair R. up stage.) 

Roger {aside to Elinor as he seats himself on sofa). 
Elinor, can't you get rid of her? (Elinor shakes her head.) 

Mrs. Putnam. You are a senior this year, Mr. Fairfax, 
are you not? 

Roger. Yes, the faculty permitting. {Aside to Elinor.) 
Elinor, I didn't come here to see anybody but you. Can't 
you — 

Mrs. Putnam. Are you making girls your major? 

Roger. What made you think that? I disapprove of the 
plural number; in fact only the singular appeals to me. 
{Aside to Elinor.) And there will always be but one girl 
in all the world. 

Mrs. Putnam. I didn't understand what you said. 



40 A TRIAL OF HEARTS. 

Roger. I was explaining to Elinor my preference for the 
singular number. (Aside.) Oh, hang it all ! 

Mrs. Putnam. I presume you are already planning your 
future career. Have you had any proposal to — 

Roger. Heavens, no! I've been giving them instead — oh, 
I don't mean that — you meant, of course — 

Mrs. Putnam. Proposals for any special line of business 
— or are you to be a professional man ? 

Roger. Why, I haven't decided. Plenty of time for that. 
(Aside to Elinor.) Can't we go for a walk, a ride, any 
old thing? 

Mrs. Putnam (sez'erely). No, "any old thing" won't 
do. That is where you young men make a great mistake. 
If we had students with a definite purpose — 

Roger. Oh, we all have purpose enough ! We can't carry 
it out, that's the trouble. (Aside.) Elinor, can't you think 
of something to get her out of the way? 

Mrs. Putnam. Out of the way? That's true. You do 
get out of the way of planning for the future ; but still 
daily work shouldn't crowd out everything. 

Elinor. Where is that book you've been reading, Mrs. 
Putnam? Doesn't it apply to the very thing you've been 
discussing? Suppose you lend it to Roger, 

Mrs. Putnam (rising). I'll be glad to. You, of course, 
refer to the work on Anthroposociology. It is upstairs, I 
believe. I'll hunt it if you'll excuse me, Mr. Fairfax. 
(Exit R. U. E.) 

Roger. Heavens ! Does that woman think I am calling on 
her? Elinor, dear Elinor, we are going to be very happy 
together and tlte knowledge of my love for you has — 

Enter Dorothy, R. 2 E., as Roger finishes. She coughs. 
Both Elinor and Roger start to their feet. 

Elinor. Oh, Dorothy, how you startled me. Won't you 
be seated? You know Mr. Fairfax, of course. 

Dorothy (coming to C). Indeed, I do. Why, Roger 
and I are — 

Roger (shaking hands). Why, Dorothy, glad to see you. 



A TRIAL OF HEARTS. 41 

I just happened to be passing here and thought I'd see 
Elinor on some senior business. 

Elinor (standing L. of Roger). Well, I don't under- 
stand why you should apologize for being here ! Roger, 
why not tell our little secret? Dorothy, we are — 

Roger {desperately). Planning to come out in our caps 
and gowns — now don't breathe it to a soul. 

Elinor. Why, / didn't know we were. When, Roger? 

Roger. Oh, sometime this year, of course. Seniors al- 
ways do come out in their caps and gowns, don't they? 

Dorothy. Undoubtedly. Roger, you look worried. 
Something is troubling you. 

Roger. Troubling me? Nonsense! {Laughs nervously.) 
Why should I be troubled? I have been a little pre-occu- 
pied, but — 

Elinor {consciously). I know why he's pre-occupied'; 
that's always a sign of being in love. 

Roger. No, it isn't; no, really — that's an exploded the- 
ory. 

Dorothy. But it isn't an exploded theory. You know 
better than that — you and L 

Roger {desperately) . Why, I thought you'd both be at 
the game ! 

Both. At the game? 

Elinor. Without you? After all that's happened? 

Dorothy. At the game, when you didn't ask me? 

Roger. I couldn't do it, Dorothy, I really couldn't. I had 
business — 

Dorothy {sarcastically). Senior business with Elinor? 

Elinor. But, Dorothy, why should you expect him 'to 
take you? Roger, I don't understand. It's the custom to 
ask the girl to whom you are enga — 

Roger {rushing zvildly to the front of stage). Wonder 
if the game's out ! HSrrah ! Hurrah ! Hurrah ! 

Enter Josephine, R. 2 E. 

Josephine. Oh, is the game over? I heard you cheering. 
Roger. Game isn't over ; it's just begun. My game, I 



42 A TRIAL OF HEARTS. 

mean — no, I don't ; don't mean anything. I always do get 
so excited when I'm waiting for the returns. 

Josephine (seating herself on sofa). Oh, let me tell 
your fortune! Palmistry! And I'm daft about it! Just been 
lying in wait for someone to practice upon. 

Roger (sitting by her with evident relief). Just the thing! 
Begin on me if the girls are timid. My future is rather 
unsettled. 

Elinor (standing by Roger). Unsettled? Why, Roger, 
after — 

Roger (zvhispering) . Unsettled as far as anybody else 
knows. We know, though, you and I. 

Dorothy (standing back of sofa). You know zvhat? It 
seems to me Fve had a hand in your future. 

Roger. Why, certainly — of course — everybody has an in- 
fluence on everybody else. No life can be lived passively. 

Josephine. Stop your wrangling! Here — give me your 
hand. (Looks intently at hand he holds out.) Dear me! 
It's all heart line ; yes, there's some head line ; but, oh, so 
many little criss-crosses. Why, you must have dozens of 
people in love with you — dozens — 

Roger (modestly). Well, I can't help that, can I? 

Josephine. And oh-h-h ! I see a tall blonde — (Dorothy 
frozvns) and no — yes, you are in love with her; or at least 
you've told her you are, and — wait — why, you are engaged 
to her ! 

Dorothy. Roger ! 

Roger. All a mistake, Dorothy. There's not a thing in 
palmistry. Never did take to blondes. 

Elinor. Roger! 

Roger (aside to Elinor). Except stunning ones, I meant 
to say, if you'd given me time. 

Josephine. And — oh — oh! Here's a small, dark girl, 
and — why — this can't be so (looks intently) but it is cer- 
tainly there, and — why — I never saw anything so strange. 
(To herself.) No, I haven't made a mistake. It is here as 
plain as day — the blonde line, the dark line — why, the idea ! 
Roger, your palm says you are engaged to her! 

Roger. Now, whoever told you that? Somebody must 



A TRIAL OF HEARTS. 43 

have let It out and yet nobody knows but — (Rises hur- 
riedly.) 

Elinor. Elinor and — 

Dorothy. Dorothy! (Exit Josephine quietly, R. 2 E.) 

Elinor (advancing to C). Oh, Roger, Roger! Remem- 
ber that Romeo is restricted to one Juliet. Stand back and 
let me have the center of the stage. (Pushing him aside.) 
I shouldn't have accepted you ; I know I shouldn't ; but you 
were so tempting, Roger, and you did it all so well and — 

Dorothy (joining Elinor). It was too bad to let that 
beautiful plea of yours go unrewarded. I never again ex- 
pect to hear so good a one. I couldn't let the chance go by ; 
it was such fun ; and now — 

Both (curtsying). After further consideration of the 
question, we have both decided to say no! Good-bye! 
(Exeunt R. U. E. Roger stands bewildered.) 

Enter Mrs. Putnam, R. 2 E. 

Mrs. Putnam. Why, where are the girls? Oh, I sup- 
pose you are waiting for the book. I'm sorry to have been 
so long, but it had been mislaid. Now this chapter I have 
marked. I'm sure you will profit greatly. Anthroposoci- 
ology Is a fascinating subject. (Takes his arm. Exeunt 
Mrs. Putnam and Roger, R. 2 E.) 

Enter Gretchen and Jerry, L. C. in F. 

Gretchen (throwing her books on table and seating her- 
self L. of table). Nobody here! What a streak of luck! 
Let's rest awhile and — 

Jerry (foUoiving her). Gee, Gretchen, ought we? No- 
body asked us in and — 

Gretchen. That's nothing. The Kappa Psis have bor- 
rowed mother's forks for their dinner tonight and they 
can't very well eject the daughter of their benefactor. 

Jerry. But still, I don't like to — 

Gretchen (looking around). Jerry, listen! Even if T am 
just In High School, the Kappa PsIs have their eyes on me. 



44 A TRIAL OF HEARTS. 

Jerry (sitting on sofa). Pshaw ! You're not going to join 
them, are you? 

Gretchen (loftily). We never know what destiny holds 
in store for us. 

Jerry. Stuff and nonsense! You can just bet on one 
thing; that I'll never join a f rat ! 

Gretchen. Don't say that until you've been asked. One 
sees things so differently then. 

Jerry. Even if I am asked, I won't join. I don't believe 
in frats ! They are conducive to snobbishness. They are a 
menace to college usefulness ; they — 

Gretchen. You've heard somebody say all that, Jerry; 
it doesn't sound original. 

Jerry (rising and gesticulating). The fraternity is the 
rich man's organization ; the secret order is narrow in it's 
principles and prejudiced in it's views, undermining the 
very foundation of democracy. Democracy I say ! Give 
me — ■ 

Gretchen (rising). Liberty, equality, but fraternity! 

Jerry (disgustedly). Gretchen, you have the darndest 
fashion of butting in. If we've got to have a row, let's go 
outside and have it, although it would be a good thing to 
let the Kappa Psis know just what a mean disposition you 
have. 

Gretchen (loftily). A great mind rises above petty re- 
marks, Jerry. (Sitting on sofa.) Come, let's do Latin. 

Jerry (picking up book and sitting by her). All right. 
I'll begin. Eighth sentence, isn't it? (Reads.) Gallia est 
omnis divisa in partes tres. Oh, I can do that ; it's dead 
easy. "All Gaul is divided into three parts. (Pauses, then 
adds.) Except Gretchen's, which is entire." 

Gretchen (angrily). I'd like to box your ears, and I'm 
half a mind to do it. 

Jerry. Sh, Gretchen ! Don't rouse the Kappa Psis. Let's 
call it square and give the Upsilon Iota grip. (Gretchen 
hesitates, then slowly puts out her hand. They gire com- 
plicated grip.) 

Gretchen. Now, let's see — oh, dear, the next is one of 



A TRIAL OF HEARTS. 45 

those awful dates. Ante VI Kalendas. (Looking around.) 
Where's that grammar? 

Jerry. I never could remember dates unless I made 
them myself. 

Gretchen. I can't find the old thing. Let's go on to the 
next. 

Jerry. All right. (Reads.) Milites animos et vim res- 
taurant. Restaurant? Say, Gretchen, I never noticed that 
derivation before. Res, things ; taurus, bull — bully things ! 

Gretchen. Why, so it is. Latin is a help sometimes, 
isn't it? 

Jerry (to himself). Res, things; taurus, bull — bully 
things! Well, I never. (Laughs.) 

Enter Philip and Honor, L. C. in F. 

Jerry. Gosh ! Here's some company now. I'm going to 
hike. (Exit L. C. in F.) 

Gretchen. Oh, Honor, I forgot that yotf were coming 
to the dinner. 

Honor (coming dozvn C. to Gretchen). Oh, I wish you 
could stay, Gretchen. You'd make it easier. Do I look all 
right ? 

Gretchen. The very prettiest one here. 

Honor. Oh, if I knew what to say. 

Gretchen (moving to L. C. in F.). Don't you worry 
about that. If you can't think of anything to talk about, 
just inquire about the rushing; that will set them off. Good- 
bye. Jerry's waiting. (Honor gaces zvistfidly after her. 
Gretchen reaches the door, looks around and runs hack 
to Honor.) You're all right. Honor, and don't forget 
this — Fm with you! (Exit L. C. in F.) 

Philip. Shall we sit here for a moment before we join 
the others? We ought to be the best of friends, you and I. 

Honor (sitting on sofa). Yes, we are going to be, I 
know — for you are Dudley's best friend. 

Philip (sitting beside her). Come, now, try to like me 
for my own sake, won't you? I'm a pretty decent sort of 
a fellow, though of course I can nez'er be like Dudley. 

Honor. Oh, no, of course not. Nobody can ever be like 



46 A TRIAL OF HEARTS. 

Dudley. (Sighs.) Philip, do you mind if I ask you some- 
thing? (Tlirozvs off wrap.) 

Philip. Ask me anything you wish ; that's what Pm here 
for. 

Honor. Do — do you think it strange that Dudley cares 
for me? 

Philip. Strange? Well, Pd think something was wrong 
with Dudley if he did not. 

Honor. Would, you — really? Oh, Philip, I want to be 
all that he'd have me be ! Pve never been away from Dad 
in all my life. There are just the two of us and I can't tell 
you about Dad; he's just for me to think about and 
(bravely) oh, Pm not unhappy; Pm getting used to every- 
thing; I'll be all right. 

Philip. Tell me all about this wonderful western home 
where Dudley found you, loved you and — 

Honor. I shut my eyes and I can see it all — the long, 
low house with it's wide, wide porch, the broad stretch of 
prairie; Dad in his big chair (suddenly) Vm not lonely 
or homesick. Pm going to be happy, and Pm going to make 
Dudley happy. 

Philip. The happiest fellow in all the world, aren't you? 
That's what he ought to be, with you to love him. 

Honor (dreamily) . Then Dudley came and I loved him, 
and oh, Philip, I seemed to grow old and wise and I felt 
that all the beautiful world was for just us two. (Sud- 
denly.) But that was my home; this is his and — I am not 
like the girls here ; like that one, the pretty one — Virginia. 

Philip. But, Honor, just think how monotonous the 
world would be with only one kind of a girl. 

Honor. Yes, Philip, I don't mind being just myself, 
unless he wants me something else. 

Philip. Don't worry, little girl. The strangeness will 
soon wear off. Why / should feel just the same going in 
among your people. 

Honor. Oh, no, you woiddn't, Philip ; you coiddn't, for 
we'd be so glad to have you ; we'd make you feel at home 
and (suddenly) oh, you mustn't think that they are not 
good to me here — they are. Dudley's mother doesn't know 



A TRIAL OF HEARTS. 47 

me yet, but Gretchen loves me ; she said she did, and she 
helps me out when they don't understand. Don't think I 
am unhappy, for I'm not — oh, indeed, I'm not! 

Philip (rising and going back of her). You must not be 
unhappy, Honor ; you were made for sunshine. And re- 
member that in all this strangeness there is one fellow who 
is your friend for your own sake, who is willing to do any- 
thing for you that he can. Promise me now, little girl, 
that if ever the time comes when you need help, or friend- 
ship, that you will come to me. 

Honor (rising). Oh, Philip, I will, I will. (Gives him 
her hand. Exeunt R. U. E.) 

Stage clear for a few moments. Enter Virginia, L. C. 
in F. She opens the dining-room door, R. U. E., a little 
and peeps in. 

Virginia. They are all at dinner. I'll just wait here — 
stay a little while and then go home early. I don't feel in 
the mood for the girls tonight, and if Dudley's there it's 
hard for me. I can't get used to it and I ntiist be too proud 
to care. (Seats herself at L. of table, lights the lamp.) 

Enter Dudley, L. C. in F. 

Dudley. Why, Virginia! 

Virginia (rising). Dudley, I thought you and Honor 
were at dinner with the girls. 

Dudley. Honor is. Philip brought her. But I couldn't 
get here on time, and now an unexpected telegram has 
called me ofif on a trip for several days. So I am over to 
get Honor, for the child will grieve over my going and 
will want the last evening with me. 

Virginia (going toward R. U. E.). Shall I call her? 
They are at dinner. 

Dudley (detaining her). Let her finish, then, and I'll 
have the chance to ask you all about yourself. 

Virginia (seating herself again L. of^ table). There's 
not much to tell, Dudley. Work and play in proper propor- 
tions manage to make my life complete and happy. 

Dudley (at back of her chair). I'm glad of that. You 



48 A TRIAL OF HEARTS. 

deserve the best that the gods can give, for, Virginia, you 
are the cleverest girl I ever knew. 

Virginia. Clever! Is that all? (With an effort.) Tell 
me, Dudley, all about the Wyoming life and Honor. 

Dudley, Just a few words will tell it, Virginia. I saw 
her, loved her, and she loved me. I'll never forget that first 
day. It was sunset, and against the flaming background 
rode the girl, her eyes like stars, her hair about her — she 
seemed the very incarnation of the spirit of the plains. I 
loved her from the moment my eyes looked into hers and — 
and that's all. 

Virginia. But, Dudley, have you ever thought of the 
long years before you, that must be years of companion- 
ship, of mutual understanding? Can this sweet child, un- 
accustomed to the things of your life, be to you, intellectu- 
ally— 

Dudley (laughing). Oh, I'm not troubling about that. 
Why should I, when she's mine, when she loves me with 
her loyal little heart? {Thought fully.) What different 
types you are ! Honor, a simple little girl, ignorant of con- 
vention, and you, college bred, clever, so used to having 
people stand in awe of your brains — 

Virginia. Dudley, you hurt me! Clever! Brains! Ah, 
Dudley, you don't understand — 

Dudley {leaning X)ver her). Why, Virginia, what is the 
matter? How did I hurt you. You know that I would not 
consciously do so. I care too much for you. {As he is 
speaking Philip and Honor appear at R. U. E. As she 
sees them together Honor catches Philip by the hand and 
pulls him back.) 

Virginia {rising). How foolish I am. Don't mind me — 
I am just nervous and unstrung. Positively, the rushing 
tells on me as well as on the active girls. {Picking up 
wrap.) Isn't this Honor's wrap? Come on, let's go and 
find her. {Exeunt Virginia and Dudley, R. U. E.) 

Enter Patricia, Bess. Betty. Louise. Elinor, Joseph- 
ine, R. U. E., and stand at back of stage. Enter Jack 
and Barbara, R. U. E. 



A TRIAL OF HEARTS. 49 

Barbara (coming down to C. zvith Jack). Jack, I want 
to say something to you. I want to thank you for all the 
good times you've given me. 

Jack. Why, Barbara, the good time has been for me 
and I can't begin to say how glad I am to be your friend — 
for I am your friend, am I not? 

Barbara {at front of stage). Why, Jack, you know 
that, and it's about this I want to talk. Will you be my 
friend, whatever happens? 

Jack. You know I will. Don't let this wretched sorority 
matter come up again. If you go Delta Chi, I'm glad; if 
you go the other way, it will still be just the same. Four 
years is too short a time to be careless about friendships, 
and we shall treasure ours, shan't we, Barbara? 

Barbara (giz'ing him her hand). Always, Jack. 

Jack {turning). It's awfully bad form to eat and 
run, but I'll just have to tear myself away. {To Kappa 
Psis.) Good-bye. {To Barbara.) Don't forget. {Exit L. 
C. in F.) 

Louise (coming to R. of Barbara). Isn't it lovely to 
have Barbara here all to ourselves? 

Josephine (at L. of Barbara). And if we could only 
keep her, we'd be the happiest girls in the world. 

Bess (sinking into chair L. of table). Dear Barbara, 
we're such happy pledges and we'd be so much happier — 

Betty (on edge of sofa). If you would only wear the 
colors, too. 

Elinor (on sofa). This is my last year and I'd feel so 
satisfied to leave the chapter if I could know that Barbara 
was a Kappa Psi. 

Barbara (at C). Oh, girls, can you realize how it all 
hurts me — how hard it is to know what to do — how hard — 

Patricia (coming down C). Let me have her, girls. 
(Drazvs Barbara aside.) Barbara, we've all been through 
this same indecision ; we've all felt just as you feel. Won't 
you listen to Kappa Psi and take her for your guide tonight ? 

Barbara. Oh, girls, I cannot stand it. I must not listen 
to you. I must be strong enough to do what is right. I 
have decided. I have made uo my mind, but you shall all 



50 A TRIAL OF HEARTS. 

hear my answer. You must call the Delta Chis, for what 
I have to say is for them as well as for you. Won't you 
send for them? 

Patricia. Betty, go! {Exit Betty, L. C. in F.) 
Barbara. It has been so hard, and oh, if I could only tell 
you how much I love you all, how much I thank you for 
everything you've done to make me happy, how much your 
kindness has meant to me — 

Enter Lucile, Jean, Irene, Priscilla, Betty, L. C. in F. 

Priscilla {rushing to her). Oh, Barbara, what is it? 
What is it? Has something happened? You are not going 
to say no to us, are you? Oh, we can't give you up! {Delta 
Chis group around Barbara.) 

Barbara. Oh, girls, don't, don't. I feel as if I'd lose my 
mind. {Turns.) Listen, you Delta Chis. I've made my 
decision and you must all hear it. I love every one of you. 
I love every Kappa Psi, and oh, if I can't be a Kappa Psi 
and a Delta Chi, too, I won't be anything. I couldn't go 
into either and be satisfied, and I can't go into both ; so — 
I'm going to another college. I can't stay here — I can't! 

Irene. But, Barbara, we can't — 

Barbara {hysterically). Oh, don't interrupt me. I'll 
never have strength to do it again, and I must! Kappa Psi, 
I can't come to you ! I can't and it hurts me so — it hurts 
me so! Delta Chi, \\ breaks my heart to tell you no, but I 
must say good-bye. For there's nothing left for me — there's 
nothing left for me but to go away! {Turns and walks 
slowly tozvard L. C. in F.) 

Curtain. 



Act IIL 



Scene I : Library in Van Antzverp home. Large door 
with portieres C. in F., shozving hallzvay beyond. Door at 
R. U. E. and draped window at L. U. E. Desk L. of C. in 
F.; bookcase R. of C. in F. Long library table at L. C. 
zvith chair R. of table. Mantel R. C. dozvn stage with large 
Sleepy Hollow chair before it. Small hassock R. C. tozvard 



A TRIAL OF HEARTS. 51 

front of stage. Table has lamp, books, magazines, etc. 
Mantel is adorned zvith large clock and the zvalls have a 
fezv pictures. Scene is well lighted, since it is afternoon. 

At rise Dudley is discovered sitting in chair R. of table. 
Honor on the hassock. Dudley is reading the paper. 

Dudley (throzving aside the paper and looking at his 
zvatch). Three o'clock. I'm half an hour late for that 
meeting. If anyone 'phones, say that I'll be back about five. 
(Rises and starts tozuard C. in F.) 

Honor (rising). Dudley — 

Dudley (turning). Well? 

Honor. You haven't kissed me good-bye. 

Dudley. Honor, you must not be so foolish. We've been 
married six months now. Why, we can't keep up that sort 
of thing always. Good-bye. (Exit C. in F.) 

Honor (zvatches him from the ziu'indozv at L. U. E. 
Goes back to Iter hassock, puts her elbozv on her knee and 
her head in her hand.) I wonder if people ever get too 
busy — to — to care. 

Enter Mrs. Van, C. in F. 

Mrs. Van. Honor, how often have I told you not to sit 
in that absurd position. (Takes up paper. Honor seats 
herself stiffly in Sleepy Hollozv chair.) 

Honor (after a moment's silence). Dudley's gone. 

Mrs. Van (frigidly). Yes, I met him in the hall. (Seats 
herself R. of table. Silence.) 

Honor (zvith an effort). He's coming back at five. (No 
anszver. Honor, desperately) . The paper says it's going 
to snow tomorrow. 

Mrs. Van (laying aside paper). I've been wanting to 
talk to you plainly for a long time. Now is a good oppor- 
tunity and I shall come directly to the point. You know, 
I presume, that I do not approve of my son's marriage to 
you. 

Honor. You have never told me so, but you have showed 
it in, oh, so many ways. 

Mrs. Van. Very well. Then we understand each other. 
There are many reasons why this marriage must result in 



52 A TRIAL OF HEARTS. 

unhappiness for you both. I shall not speak of the differ- 
ence in station between you. I shall not speak of your 
ignorance of the things that make up his life. I shall not — 

Honor. You are cruel to me. 

Mrs. Van. We are not regarding this matter from a sen- 
timental standpoint, but from one which is thoroughly prac- 
tical. You are a crude western girl transplanted to an at- 
mosphere of which you are wholly ignorant, to which you 
cannot accommodate yourself. I have watched you closely 
during these six months and I cannot see that you are any 
more accustomed to this new order, that you feel any more 
at home with us. 

Honor. At home with you? How can I feel at home 
when I know that I am unwelcome? Have I had a chance 
to learn your ways, when you — (pleadingly) oh, I hare 
tried to please you, but you would not let me. I came 
here wanting you to love me. I never knew my own mother, 
and you were so good to Dudley I thought you. would be 
good to me. That night I knew that it couldn't be; that I 
was not like the others. 

Mrs. Van (eagerly). Then you acknowledge that you 
are different ; that this is not the place for you. Have you 
stopped to think what people will say, are saying, that they 
will wonder at Dudley's choice for a wife? 

Honor. Do you think for an instant that I care what 
people think or sayf Why, I love Dudley, I love him — 

Mrs. Van. You think you love him. You have an im- 
mature, romantic idea of life. Marriage is more than sen- 
timentality : it is made up of many prosaic details. You 
are a child ! 

Honor. No, I am not a child, for you have taught me 
what it is to suffer! 

Mrs. Van. You say that you love Dudley. In the name 
of that love I appeal to you to save him. He married you 
in a fit of boyish impetuosity, without a thought of his 
career. Great opportunities are his, but he needs a wife who 
will be an inspiration not a hindrance ; who will understand 
and with whom he may grow in power. Do not take advan- 
tage of this unfortunate marriage, but give him up. 



A TRIAL OF HEARTS. 53 

Honor. Do you know what you are asking ? It must be 
that you have never loved ! 

Mrs. Van. Do not be foohsh. I am asking you a pos- 
sible thing. I am pleading for the happiness of my son, 
and if you truly love him, as you say you do, you will gladly 
sacrifice yourself for his advancement. Go back to your 
western prairie. You will soon forget and — 

Honor (rising). I shall not listen. It is not right that 
you should say such things to me. I am ignorant, my life 
has been a different one, but I have something that all your 
wealth and ambition has not given you — a heart. I am will- 
ing for Dudley's sake to do anything that may be for his 
happiness, his success. But not until I hear from his lips 
that he does not love me, that I am no longer a part of his 
life, that he can do better without me, will I leave him. 
He loves me. I am his wife and as his wife I mean to stay! 
(Mrs. Van rises, starts to speak, hesitates, then goes slozvly 
out of the room at R. U. E.) 

Enter Philip, C. in F. 

Philip. That you Honor ? Where's Dudley ? I came for 
you people to go skating; it's great and the crowd's all out. 
{Suddenly.) What has happened? 

Honor. Philip ! Oh, I'm so glad it's you. I wanted you. 
I'm unhappy. 

Philip {going back of chair). Who has dared to be un- 
kind? Dudley? 

Honor. Oh, no, never Dudley ! 

Philip. Then it's his mother. Honor, dear, don't let her 
trouble you. She is — 

Honor. I know ; you needn't tell me, for — once I thought 
I could make her love me, but I can't. I've never had any- 
thing but love, Philip, and now I wish I had no heart, it 
aches so. 

Philip {seating himself on arm of chair). Tell me all 
about it. Maybe I can help, for I'm not an outsider, you 
know ; I'm just — 

Honor {softly). Dudley's best friend 

Philip. Nothing more — to youf 



54 A TRIAL OF HEARTS. 

Honor. Everything to me, for you liave been so good to 
me, Philip ; so kind — so thoughtful — so — 

Philip. Don't, Honor, or I shall forget that I am — 
Dudley's best friend. 

Honor. Oh, but you shall always be first with us — Dud- 
ley and me ! We shall — 

Philip (abruptly). Come, tell me all about it. (Goes to 
chair R. of table.) 

Honor (taking hassock and placing it beside Philip's 
chair). There is so little to tell. It seems so strange, Philip, 
that what may hurt one for years, may be said in just a 
moment. (Seats herself.) She told me that Dudley would 
be happier without me, that I hinder him, that 1 can never 
hope to be like his friends. 

Philip. Does Dudley know that she has spoken this way 
to you? 

Honor. Oh, no, he could not know ; he would never — 

Philip. And you believe all this? You believe it? 

Honor. Oh, Philip, I must. I cannot help but see that I 
have not learned to be like the others. It isn't in me. For 
Dudley's sake, I wish I were beautiful — clever ! Instead, 
I am just — Honor. 

Philip. Just Honor, with all the sweetness, the truth 
and the loyalty that a man might dream of and wait for. 

Honor (clasping her hands). Do you mean it, Philip? 
Or do you tell me this because you want to make me feel 
happier? 

Philip. Do I mean it? Haven't you seen it? Can't you 
realize it? Don't you understand? I say it with all my 
heart, with all the feeling that — (rises) I must not tell 
you of. 

Honor. Why not? 

Philip. Because I am Dudley's best friend, and yours. 
(Goes to back of Sleepy Hollozv chair.) 

Honor. But, Philip, suppose — just suppose that Dudley 
should — should not love me. It seems too terrible to think 
about, I am so far away from home. Oh, Philip, I have 
only you. (Rises.) 

Philip (going to her). Honor, tell me. If anything 



A TRIAL OF HEARTS. 55 

should happen, if Dudley should fail you, would you still 
love him, or could you care for someone else? (Puts his 
arm around her.) 

Honor. Care for someone else? Oh, Philip! You don't 
understand. You have never loved. Love doesn't leave you 
when the other ceases to care. It goes on and on, forever. 
There may be years of sorrow, of misunderstanding — of 
heartache — but the love is there, and it changes the sadness 
into something sweet {softly), and that is the way I love 
Dudley; the way I shall always love him. (Silence for a 
fuoment.) 

Philip. That is the reason that Dudley should be happy. 
He cannot be otherwise, when he has you. You can help 
him, you do help him. Your place is by his side, and you 
must be happy, for I care more for your happiness than 
anything else in the world. (Goes to zvindozv at L. U. E.) 

Honor. How good you are to me, Philip. I am grateful, 
I truly am. You've helped me. (Laughing.) Why, I feel 
almost gay. 

Philip. That's right. Think of the happy things, of the 
jolly times we're going to have, and of the fun in store 
for us next summer on the ranch. 

Honor (eagerly.) The ranch! Oh, PhiHp, I can hardly 
wait! There'll be long rides to take in the morning when 
everything is beautiful and quiet. (Longingly.) Oh, how 
I miss the bigness of it all. Here I am so shut in when I 
want freedom — freedom! (Stretches out her anus.) 

Philip (pushing aside the curtains). The open life! Come 
with me and I'll do the best I can. Put on your things, get 
your skates and — 

Honor (glancing at clock). No, it's almost five. Dud- 
ley's to be back at five and he might want me. 

Philip. Then I'll be moving on. Don't forget now ; 
you're not to worry. 

Honor. I promise. (Philip starts off toward C. in F.) 
Philip, come back just a minute. I don't know why it is, 
but I feel as if I must say — good-bye. 

Philip (coming to her and taking her hands). Dear little 



56 A TRIAL OF HEARTS. 

girl, it is good-bye. (Exit C. in F. Honor goes to the win- 
dozv, then comes slozvly back to C). 

Honor. The world is beautiful after all and I'm very 
happy if only — (off stage Dudley calls ''Honors) There's 
Dudley now. I'll surprise him. I'll hide and — (hides in 
the Sleepy Hollow chair so as to he unseen by those in the 
room, yet visible to the audience.) 

Enter Virginia, C. in F., follozved by Dudley. 

Virginia (coming dozvn C). Why, I thought Honor 
was here, and your mother. 

Dudley. Oh, they are, I am sure of it. Mother will be 
in if you just wait, and Honor is sure to be around here 
somewhere. Sit down, Virginia. It's been so long since you 
were with us and — 

Virginia. But I must not, Dudley — I must not. \\niy, I 
have a dinner for tonight and a dance. Have you no idea 
of the claims upon a butterfly's tirne? Or have you for- 
gotten how to be frivolous? 

Dudley (pulling out chair R. of table). Oh, I've gotten 
out of the way. Honor doesn't care for that sort of thing 
and I've had to give it up. Sometimes I do miss the fun 
and the friendliness of it all, the lights, the music, the good 
old crowd, but — 

Virginia (seating herself). Is isn't fair to the rest of us, 
Dudley. You ought not to give up your old friends, those 
who have grown up with you, and forget us in your new 
happiness. 

Dudley (at back of chair). Virginia, I miss the old ties. 
I still long for the old life ; but it's different now. I have 
new duties and responsibilities and I can't explain, that's all. 

Virginia. But you owe it to Honor. The child will grow 
old before her time. She has had such an active life and 
she needs diversion, companionship. No matter if she does 
feel strange, if she is timid and self-conscious. We are your 
friends and therefore hers. Dudley, she is very sweet and 
very loyal to you. I do not wonder that you love her. 

Dudley. She is sweet and loyal, all you say ; but her 
opportunities have been few. (Walks to L. of table.) 



A TRIAL OF HEARTS. 57 

Virginia. But you knew this, Dudley, before you mar- 
ried her. Do not hold it against her now. 

Dudley (leaning on table). I've been thinking, dream- 
ing, Virginia, of the dear old days. I cannot dismiss the 
memories, no matter how hard I try. Their sweetness 
maddens me, taunts me. 

^ Virginia. Don't! You inust not! (Gayly.) Why, Dudley, 
don't you know what is said of people who grow reminis- 
cent? It's a very sure sign of age. Remember, I was a 
senior with you, and for you to challenge old Father Time 
in this manner isn't quite fair to me. 

Dudley. You must hear me. You cannot have forgotten 
those college years, for no others can ever be so sweet. 
Oh, Virginia ! Virginia ! Commencement now is but a mem- 
ory of blue skies, bright nights and many faces ; but it was 
the time when I dreamed of what I should do for you. 

Virginia. It is the time that must be forgotten. The 
past is gone, and what is is best. 

Dudley {coming to her and seizing her hand). Ah, no; 
not best. I must be mad today, but the sight of you, Vir- 
ginia, brings back the old days, the old love ! And I realize 
what your sympathy, your understanding, your compan- 
ionship, your womanliness, might have been to me ; for it 
is you, Virginia — you, it has always been you. {Kneels 
beside her.) 

Virginia (rising). How can you — how dare you say such 
things to me? (Dudley rises.) Have you no thought of 
the girl who loves you, who bears your name, whose happi- 
ness rests with you? Shame upon you, Dudley Van Ant- 
werp! If ever I cared for you, that affection is gone — for- 
ever — for I must respect the man I love! (Exit C. in F. 
Dudley stands irresolute for a fezv mofnents, then follozus 
Virginia C. in F.) 

Honor. So it's all true — it's all true. He doesn't love 
me, be doesn't want me. I'm here — alone — all alone — 
there's *iobody= Oh, dad, dad ! Your little girl is coming 
home, is coming home! 

Curtain. 



58 A TRIAL OF HEARTS. 



Act IV. 

Scene : College campus. Set trees R. and L. Landscape 
view in the hack. Shrubbery at R. C. Long rustic seat C. 
down stage. Punch bozvl on table at L. C. doivn stage and 
rustic chair at R. dozvn stage. Entrances R. U. E. and 
R. 2 E., L. U. E. and L. 2 E. Since it is afternoon, the 
scene is zvell lighted. 

Stage clear at rise. Almost immediately Gretchen enters 
L. U. E., zvalking backward and zuaving her hand to those 
off stage. Jerry, at the same time R. U. E., zvalking back- 
zvard, not seeing each other, they bump together. 

Gretchen {displaying Kappa Psi colors). Jerry! 

Jerry {displaying Omega Omega colors). Gretchen! 

Gretchen. Kappa. Psi. 

Jerry. Omega ! Omega ! 

Gretchen. I'm pledged! 

Jerry. So am I ! 

Gretchen. Oh, Jerry, it's a funny sort of feeling. I 
can't just explain, but you know ! 

Jerry. You bet I do ! And oh, Gretchen, I may feel 
prouder when I cast my first ballot — 

Gretchen. And I may be more exalted when I see my 
name on the title page of my first book — 

Jerry. But I don't believe that the discoverer of the 
North Pole— 

Gretchen. Or the President taking the oath of office — 

Jerry. Can have half the exultation — 

Gretchen. That comes with the pledging to a frat! 
{Comes dozvn C. to rustic bench and seats herself.) 

Jerry {at back of bench). But, Gretchen, with the pledg- 
ing come new responsibilities that will perhaps force us to 
give up — well, the old ties. 

Gretchen {turning). Old ties — Jerry! You mean — 

Jerry. Upsilon Iota. 

Gretchen. After we've made our constitution, had our 
meetings, pur fun and our fights. 



A .TRIAL OF HEARTS. 59 

Jerry. Gretchen, I don't zvant to, but it's simply a ques- 
tion of — can we be loyal to botft? 

Gretchn (angrily). I don't see what Upsilon Iota has 
to do with Omega Omega. You're trying to get out of it, 
Jerry, Maybe you want another girl. 

Jerry. That's just like you, Gretchen, trying to start a 
row, when — 

Gretchen. You started it yourself. I was perfectly 
amiable. 

Jerry. I didn't mean a thing in the world. You know I 
didn't. 

Gretchen. Men are so deceitful. 

Jerry. Women are so catty. 

Gretchen. Men have no sense of honor. 

Jerry. Women have no sense at all. 

Gretchen. Then they match the men. 

Jerry. There you are again, trying to get the last word. 

Gretchen. That's my right. 

Jerry. Not necessarily. , 

Gretchen. Then I'll take it. I will, I will! 

(Silence for a fezv moments.) 

Jerry (seating himself by her). Look here, Gretchen, 
Omega Omega can go hang before I'll give up Upsilon 
Iota. You've been my pal for years and no frat on earth 
is going to keep us apart. 

Gretchen. Oh, Jerry, do you mean it? 

Jerry. Gretchen, it would go pretty hard with me to 
think of another fellow in my place. 

Gretchen (softly). There'll never be another fellow in 
■your place — there couldn't be. 

Jerry. But it will be different now. (JVifh embarrass- 
ment.) We're growing up and I want to say something 
to you. 

Gretchen (nervously). Oh, it's a pluperfect night^ 
the lights, the people, the music. 

Jerry (desperately). But, Gretchen, we're growing up — 

Gretchen. Why, so Ave are. 



60 A TRIAL OF HEARTS. 

Jerry. I've got to say this and I've got to say it now. 
You must promise me that next year — 

Gretchen (eagerly). Next year? Yes? 

Jerry (putting his arm on the back of the bench). You'll 
wear my pin ? 

Gretchen. As if I'd wear any other! 

Enter Roger, Jack, Teddy, R..U. E., unseen by Jerry 
and Gretchen. 

Jerry (rising). Then long live Upsilon Iota with its fun 
and its frivolity. 

Gretchen (rising). Without its fights! 

Jerry (taking both her hands). For its Gretchen for- 
ever! 

Gretchen. And Jerry unto the end! 

Roger (to Teddy and Jack). Honorable members of the 
Omega Omega fraternity! (Jerry a;z(i Gretchen drop 
each other s hands.) You see the neophyte as he is. The 
hours that should be spent in conning o'er the records of 
our past, he fritters foolishly away. The time that should 
be given to the deeds of illustrious alumni, he spends in 
the company of witless womankind. (Gretchen sticks out 
her tongue at him.) Was it for this that Omega Omega 
pledged you? (Advances down C.) Not until you for- 
swear the wiles of the fairer sex — 

Jerry (interrupting) . You'd better not talk, Roger Fair- 
fax. I'm only a pledge, but I'm old enough to remember that 
once upon a time you were engaged to two girls at once. 

Roger (sternly to Teddy and Jack). Fellow members 
of Omega Omega, you see how the neophyte has violated 
the oath of respect to his elders and superiors. Bear this 
in mind against the day of judgment. (To Jerry and 
Gretchen.) You may go! (Exit Jerry, R. 2 E. Exit 
Gretchen, L. 2 E.) 

Enter Marie with punch bowl zvhich she places on table. 
Teddy stretches himself on bench, Jack sits in rustic chair, 
Roger rushes to Marte. 



A TRIAL OF HEARTS. 61 

Roger. Oh, Marie, you look good to me! 

Marie (coyly). It is not that myself look good but — 
the punch — n'est-ce-pas, Monsieur? 

Roger. Both, Marie. Voulez — vous — oh, you know, don- 
ner — uh, give me some ? 

Marie. Oh, oui, Monsieur Roger. But is it not better 
that you speak the English? 

Roger. What a slam, Marie! Comprenez — vous slamf 
Why, my long suit is French. 

Marie. The long suit is French. ( Glancing at him stead- 
ily.) Oh, the suit came from Paris you perhaps mean. 

Roger. Oh, Marie, you're a bird — oiseau n'est-ce-pas? 
Non — non — the suit is plain American. Paris may be for 
style, Marie, but America gets there tout le meme. {He 
drinks his punch.) 

Marie. The punch — is it not good? 

Roger. Bully, uh tres-bien. Avez-vous — avez-vous — put 
un — un — a stick in it? 

Marie. Oh, non, non, monsieur. A stick? The ladle 
is here. 

Roger. Oh, Marie ! You w^omen are such unsophisti- 
cated creatures ; uh, naive. 

Marie. But, monsieur, if the woman should be taken 
away, what would follow? (Runs out L. 2 E.) 

Roger. Why, the men, Marie; the men! 

Teddy. Speaking of girls, Roger, what's your latest ac- 
complishment in that line? 

Roger (shoving Teddy and sitting on edge of bench). 
"Well, to tell the truth, I zuas pretty hard hit this winter. 

Jack. Oh, the old confidential expression. Settle your- 
self, Ted. Better start a fresh pipe. 

Roger. Of course I've met lots of girls since I left col- 
lege, but this girl was a peach — big brown eyes, soft brown 
hair — 

Teddy. Oh, cut it out, Roger. 

Roger. I did. I've got it right here. (Pidls out zvatch.) 

Jack. Ain't nature grand? Go on with the story. I'm 
thrilled. 

Roger. Well, we seemed to be regular affinities. I didn't 



62 A TRIAL OF HEARTS. 

have eyes for anyone else that first night. Got all the fel- 
lows' crazy, but I didn't mind that. 

Jack. Of course not. 

Roger. We naturally went together a great deal. You 
know how easy it is to get interested in a girl. 

Teddy. Oh, we all know. Hurry up and get to the point. 

Roger. Of course, T've had crushes before. 

Jack. Really? 

Roger. But tJiis was different. 

Jack. Oh, no, it wasn't ; just like all the rest. 

Roger (rising). Suppose you let me finish my story in 
my own way. I am to be married to that girl the last day 
of this month, and I came on to ask you fellows to be 
ushers ! 

Teddy {jumping up). Hoorah ! W^ill it be in the daytime, 
Roger, so I can wear a frock coat? I'm dippy about a frock 
.coat. 

Jack. Roger, don't tamper with my nerves. Give me 
some guarantee that it's the real thing ; that you won't leave 
the lady "in the lurch awaiting at the church." 

Roger. I swear to it. After many vicissitudes and vacil- 
lations, Roger has met his fate. (Shouts off stage.) Yes, 
I'm coming. (To Jack and Teddy.) I'll see you later about 
this. June 30; don't forget. (Exit L. 2 E.) 

Jack. Ted, that means a wedding present. W'ill you see 
the Omega Omegas tonight and levy the customary tax? 
I must hunt up the Delta Chis and pay my respects. I pre- 
sume that nothing will induce you to move on? ^ 

Teddy (settling doiun). Nothing! 

Jack. Well, so-long! (Exit R. 2 E.) 

Enter Bess and Betty, L. U. E., zmlking slozvly and 
talking earnestly. 

Teddy. Girls! (Makes room on bench for them.) 

Bess. Oh, Teddy, we were looking for you. (Seats her- 
self on one side.) 

Betty. We've something to tell you. Do you remember 
Barbara Lynn? (Seats herself on the other side.) 

Teddy. Who turned me down ? Rather. 



A TRIAL OF HEARTS. 63 

Betty. Well, Ted, she's here at the Kappa Psi house! 

Teddy. Now, I'll do most anything for the cause, but if 
you're going to ask me to rush her again — 

Bess. Nonsense. Ted, listen! You know she's just grad- 
uated at Smith, and she lives so near here that Betty and 
I asked her to stop over and see us get our sheepskins. 
She's brought a friend with her. 

Betty. We haven't seen her. They arrived unexpectedly 
when we were out, but she's coming over later on with 
Barbara. 

Bess. And Ted, you'll be nice to her. 

Teddy! Why, of course I will. But let's not talk about 
her. Let's think of ourselves ; for do you realize that this 
is our last day together? That it is a fond farewell to all 
our greatness? 

Betty. Oh, Ted! Don't speak of it. How we shall miss 
it all. The glad, free life on the campus, the chapter house — 

Bess. The dear old college itself, where we had only to 
stretch forth our hands to grasp all that we could hold of 
the beauty of knowledge and the inspiration of life. 

Teddy (rising). The world is waiting for us. We must 
accomplish great things, the three of us. Tomorrow we 
shall cross the bridge of Commencement into the untried 
land. Shall we not tonight toast to the success of the pil- 
grimage? (They all rise and stand around the punch bowl.) 

Betty (raising^ her glass). To the past, with its sunshine 
and its shadow, its roses and its thorns ! 

Bess (raising her glass). To the present, with its trust 
and its friendship ! 

Teddy (raising his glass). To the future, with its prom- 
ise and its hope ! 

Enter Mrs. Van and Dudley, R. U. E. 

Mrs. Van. Why, my dear children, you remind me of 
the three witches in Macbeth. I can almost believe you have 
been mumbling — 

''Double, double, toil and trouble — 

Fire burn and cauldron bubble." 



64 A TRIAL OF HEARTS. 

Bess. Well, we have been saying, "When shall we three 
meet again?" 

Dudley. Ted may pass for a witch, but it isn't fair to 
class Bess and Betty with those Shakespearean horrors. 

Mrs. Van. Hurry up ; the seniors are forming for their 
march and are looking for you. (Exeunt Teddy, Bess and 
Betty, L. 2 E.) I am very happy today to have my two boys 
with me. You have been gone so long, Dudley. (Seats 
herself on bench.) 

Dudley (seating himself in chair'). Two years and a 
half! Every day a struggle to forget, every moment cruel 
in its memories, every second remorseless in its sting! 

Mrs. Van. Will you never be reconciled? Will you al- 
ways grieve for this girl who has passed so completely 
from your life? 

Dudley. Passed from my life? Ah, mother, she has 
passed into it. She will forever be a part of my very ex- 
istence. If the reality has been denied, still the memory is 
with me, sweet and enduring. 

Mrs. Van. Oh, Dudley, you break my heart! 

Dudley. As we have broken hers. Such refined torture 
as we gave her, day by day, hour by hour, moment by mo- 
ment. How we crushed the love, the loyalty and the sweet- 
ness that were ours for the asking! 

Mrs. Van. I, too, have sufifered. If I might only try 
again, if I could only make amends. 

Dudley. We are both repentant — too l^te. The very day 
she left I was in the library with Virginia. I said things 
which I should never have said, which I did not mean, 
for I was mad ! Honor must have heard, for nothing but 
the thought of my faithlessness would have made her go, 
without a sign, without a word. Now, when my happiness 
is gone, I realize what her love was worth, in its purity, 
its truth, its steadfastness. Fool that I was ! 

Mrs. Van. But, Dudley, surely you will hear. Her 
father — 

Dudley. Will keep her whereabouts a secret. He will 
not betray her by a single word. 

Mrs. Van. Some day she will come back. 



A TRIAL OF HEARTS. 65 

Dudley. Come back — to what? To a household that 
tolerated her only of necessity? To a husband who won 
her love, who took her from her free and happy life, who 
soon gave her indifference for the affection he tossed idly 
away? No. Honor will not come back, nor will she let me 
go to her. 

Mrs. Van. Dudley, you are morbid. Let us try again, 
and if we find her — oh, I will do anything. My pride is 
gone. (Goes to him and puts her hand on his shoulder.) 

Dudley. But we will not find her. Do you think she will 
trust me again? It has been a hard lesson, mother, but if 
she might only know how I love her, how I have longed 
for her since the day she went away! If she would only 
let me try again. (Rises.) But come, people are waiting 
and — (Exeunt Mrs. Van and Dudley, R. 2 E.) 

Enter Philip and Honor, R. U. E. 

Honor (coming to chair at R. C). Almost four years, 
Philip. Four long years, and many things may happen in 
that time. A lonely little girl may find her way into a new 
world whose treasures are hers for the asking.^ She may 
learn life from a very wonderful textbook. She may be 
broadened by culture, and yet she may not forget. (Seats 
herself. ) 

Philip (standing at back of bench). Memory's song 
has its major chords as well as its minor strains. 

Honor (reflectively). Memory — memory! The memory 
of a frightened, forsaken child, who went home on that 
dark, dark night so long ago. The memory of the feverish 
days of study that followed ; the entrance into college ; 
the friendship with Barbara and the home coming. Philip, 
will it be in any sense a home coming? After all my dreams, 
am I to have happiness? 

Philip. Honor dear, has it been so hard for you? Has 
life held nothing but — 

Honor (interrupting). Years of estrangement, heart- 
ache and perhaps defeat ; long nights when I lay awake 
vainly trying to solve my own particular problems ; hours 
of weariness and despair ; and yet, the sustaining comfort 



66 A TRIAL OF HEARTS. 

that I had a friend, a friend who was constant, steadfast 
and ever true, whose tender care has made me trust him, 
beyond all others. {Holds out her hands to him.) 

Philip {coming to her and taking her hands). That 
trust is the most sacred thing that life has given me. (He 
drops her hands and turns azvay.) Oh, Honor, Honor, the 
best of me belongs to you and I cannot tell you — I cannot 
tell you! 

Honor (startled). Philip! Philip! 

Philip (coming back to her and leaning over her). You 
have come back to Dudley. Is the love the same? Have 
the years of separation made you forget? 

Honor. Forget? Oh, Philip, can't you understand? 
Can't you? (Suddenly.) Listen. When I was a child I 
had a little garden — forgetmenots, pansies, bluebells — my 
own little fairyland. In the midst of these simpler blos- 
soms I planted a fair, white lily.- It grew and grew, per- 
meating all with its fragrance, unharmed by the buffet of 
unfriendly winds. 'Tis my love for Dudley, my love for 
Dudley. 

Philip (turning and zvalking slozvly azvay). May the 
gardener find his perfect blossom and may he guard and 
cherish it to the end. 

Honor (rising after a pause). Come! (She holds out 
her hands to him. He comes slozvly tozvard her and takes 
her hands and gazes steadfastly at her. Exeunt Philip 
and Honor, R. 2 E.) 

Enter Patricia L, U. E., follozved by Elinor and Jo- 
sephine and preceded by Louise. 

Louise (dozvn C, singing). Here comes the bride. 

Elinor. Patsy, are you really married? I just can't be- 
lieve it. And to think of your doing it. (Seats herself in 
chair R. C.) 

Josephine. Without having us for bridesmaids. (Pa- 
tricia seats herself on bench zvith Josephine and Louise 
on other side.) 

Patricia. Now, girls, listen. It was done in a terrible 
hurry. We were engaged only two weeks ! I got to think- 



A TRIAL OF HEARTS. 67 

ing that if I had a big wedding, I couldn't get to the Re- 
union, and if I came to Reunion, I couldn't afford the big 
wedding, so Reunion and Kappa Psi won ! Then, again, 
I didnT want to give him time to change his mind ; so here 
we are on our wedding trip, and, oh — it's so heavenly to see 
you all again ! 

Enter Bess and Betty, L. 2 E. 

Bess (running to Patricia and kneeling before her). 
Oh, we just heard the news — we broke ranks — and — 

Betty (hugging her as she stands behind bench). Oh, 
Patsy, dear Patsy! Many happy returns of the day! 

Josephine. But where is the man, Pat? I feel as though 
he were mythical — intangible — 

Patricia. Oh, he's here, all right, all right, but he's 
scared! I told him it was the custom for each Kappa Psi 
brother to kiss each new sister and to give a Persian rug 
to the sorority house. (Pointing.) There he is, Jo, in that 
crowd — he's an Omega Omega, you know, and — 

Josephine (peering anxiously). But there are so many 
in that crowd, I can't telf. 

Patricia. Stupid, he's the good looking one! 

Louise. Oh, hurry and tell us all about it, Pat, for Pm 
dying to know. 

Elinor. How did you manage it? Ever since my affair 
with Roger, I haven't had the heart to encourage anyone. 

Patricia. My dear, he didn't need encouraging. It 
was this way. (Settles herself.) You know Pve had sev- 
eral affairs since I left college, but when Sammy came, well 
— one night we were at a wedding together. I gave him 
some cake to dream on and he asked me to write the names 
for him. You know that stunt — seven pieces of paper, each 
with a name ; draw out one every morning without looking 
at it ; last one's your fate. Well, the week passed. Sammy 
bobbed up serenely, and what do you think ! He had drawn 
the paper with Patricia Patterson on it! 

Josephine. Oh, you lucky mortal ! 

Patricia. But he couldn't very well help it, for Ed writ- 
ten my name on every single piece. 



68 A TRIAL OF HEARTS. 

Elinor. Pat, you sinner, how could you? Poor, deluded 
man ! 

Patricia. Deluded nothing! Why, he wanted me all 
along and he had peeked on every single piece ; so I simply 
co-operated. {Rapturously.) And now the happiness of 
seeing you all — 

Louise. Oh, girls, girls ! The happiness is being all to- 
gether again ! • 

Josephine. Old friends are best, old times are sweeter 
and — 

Elinor {rising). Will anything ever be quite so dear as 
Kappa Psi ? 

Patricia. Girls, just one song before we part. No one 
will hear us. What matter if they do? For it's Reunion 
night, it's June and we're Kappa Psis. {They sing a col- 
lege or sorority song and all go out R. U. E. slowly.) 

Enter Priscilla, Jean, Lucile-, Irene, L. U. E. 

Priscilla. Let's stop here a moment where it is quiet, 
for all day we haven't had a chance to be together. W^hat 
a happy time it's been ; so much 1>o see, so many people to 
talk to — why, I feel as though my tongue were hung in the 
middle and wagging at both ends. Will we ei'er tire of 
Reunion day? (Lucile and Irene sit on bench, Jean on 
floor in front of them.) 

Jean {dryly). Oh, yes, I think so. I really don't feel so 
enthusiastic as I did last year. 

Lucile. And the beautiful campus — what a difference a 
few years makes. Why, the trees in Lover's Lane are re- 
ally so increased in size that they do begin to be something 
of a protection. 

Jean. I don't like it nearly so well as the campus of our 
time. 

Irene. But you all surely must agree that the Delta Chi 
house is improved in every way. We thought our methods 
were up-to-date, but, dear me! everything now runs like 
clock-work ; even the rushing has been placed on a scien- 
tific basis; oh, it's wonderful! 

Jean. I can't see that there is any improvement what- 



A TRIAL OF HEARTS. 69 

ever. I don't approve of the house being run on board- 
ing-house principles and I don't like their way of rushing. 
It's not nearly so dignified as ours. I mean to speak to 
them concerning it. 

LuciLE. Well, the college men take my eye. We didn't 
have such good looking fellows to choose from. 

Jean. I don't see how you can say that, Lucile. Of 
course, if you prefer the foppish type to the men of our 
day, why — 

Irene. Really the seniors are away ahead of us in lots 
of things. Do you remember what a good time we had 
Spring term, dear old Spring term, lying in hammocks and 
letting everything take care of itself ? Well, they don't have 
any Spring term now, for their time is taken up in prepa- 
ration for Commencement week. 

Jean. Do you like that way of doing things? / don't. 
What's the use of being a senior and having a senior's privi- 
leges, if you're on a dead rush every minute getting ready 
for a mob of people at Commencement! {Sighing.) Oh, 
times are not as they used to be ! 

Priscilla. Dear old Jean ! Nothing can make you believe 
that the present equals the past, can it? We did have the 
best times, we were the nicest crowd ever. 

Irene. We did know how to rush (suddenly), which 
reminds me! Barbara Lynn is here tonight with the Kappa 
Psis. 

Lucile. Well, that doesn't cause me the least palpita- 
tion. It might have destroyed my cardiac organs several 
years ago. 

Jean. I never wanted Barbara Lynn very much. I'm 
glad she didn't join Delta Chi. 

Lucile. And have you heard that Patsy Patterson is 
married and on her wedding trip? 

Jean. I'm glad her efforts have at last met with success. 

Priscilla (rising). Do you suppose the Kappa Psis are 
a thousandth part as happy as we? Girls, it's good-bye till 
next year. (Goes to punch bowl.) I pledge you now, Delta 
Chi! (Girls gather around the punch bozvl, drink the toast 
and lockstep, go out L. U. E.) 



70 A TRIAL OF HEARTS. 

Enter Jack and Barbara^ R. U. E. 

Barbara (coming down to C. bench). Oh, Jack! Jack! 
You've asked me questions until my head fairly reels and 
you don't give me a chance to answer a single one. (Seats 
herself.) 

Jack (sitting beside her). Later on I intend to ask you 
a far more important question and I'll give you every oppor- 
tunity to answer it in the right way. Why, you haven't 
grown a bit. 

Barbara. How unkind of you to say it. 

Jack. But I wouldn't have it otherwise, for, as Orlando 
says, you're just as high as my heart. 

Barbara {hurriedly). Let me see, what was it you 
wanted to know ? What kind of a Commencement did I 
have? Oh, it was fine. Everything was beautiful and — 
when did I get in? Late this morning and why didn't I 
let you know? Why, I wanted to surprise you. 

Jack. Aren't you glad to see me? 

Barbara. Why, of course, it's lovely to meet one's old 
friends. 

Jack. Hang the friends! 

Barbara. And. Jack, I've something I want to tell you. 
I must tell somebody, and since you're such a good friend — 

Jack. Now look here, if you've gone and gotten en- 
gaged to anybody, you needn't say a word about it, for — 

Barbara. Well, it isn't that. It's a love affair that 
puzzles me and — 

Jack (coldly). I'm not much help in love affairs. Per- 
haps we'd better go back to the crowd. (Rises.) 

Barbara. Oh, Jack, sit down. I was just teasing. / 
haven't any love affair. 

Jack {sitting suddenly). But don't you want one? 
Wouldn't you Jiaz'e one? 

Barbara. I might (as Jack drazvs nearer), but, oh, let 
me tell you my story first. 

Jack. Then will you listen to mine? 

Barbara. If it's sufficiently interesting. Jack, do you 
remember Dudley Antwerp's wife, Honor? 



A TRIAL OF HEARTS. 71 

Jack. Yes, and I've often wondered where she went and 
what would be the end of it alL The particulars never were 
known, but it was surmised that she was unhappy. 

Barbara. Too unhappy to stay, for she knew that Dud- 
ley considered his marriage to her a mistake, and her one 
desire was to make herself as other girls. Jack, she came 
to Smith ; she became my dearest friend, and I wish I 
might tell you all that her years of study have done. How 
she has blossomed into the cleverest girl in the college, 
beautiful in person and in soul — brilliant, talented. 

Jack. And Dudley had never found her? Does she love 
him still ? 

Barbara. He has never seen her since that day. Only 
her father and Philip Vivian knew her secret and they have 
never told. And love him? With a love that has never 
wavered, never altered. She is here today. 

Jack. Here? With you? Then, Barbara, he will see her. 
It must come right. We must make it all right. 

Barbara. We must, but if we shouldn't. Oh, Jack, it 
has troubled me so, and the responsibility of it all. I just 
had to tell someone and you are the one from all the others 
whom I wished to trust (softly), as I have always trusted 
you. 

Jack. Barbara dear. Your faith has meant much to 
me, but it is your lo'Z'e 1 want. Three years ago I asked 
you to wear the Delta Chi pin, to choose the sorority whose 
loyal supporter I was. Today I am pleading my own cause 
and am asking you to give your heart to me. 

Barbara. Jack, I cannot give my heart now. 

Jack. Why, Barbara, haven't you known all this time 
that I love you? 

Barbara. Yes, but — 

Jack. Do you think I am unworthy? 

Barbara. Oh, Jack, never! Wait. (Moines toward R. 
2 E.) For how can I give my heart nozv, when it's been 
yours — for years? (Exit R. 2 E.) 

Jack. Barbara! (Exit hurriedly R. 2 E.) 

Enter Philip and Dudley, L. U. E. 



72 A TRIAL OF HEARTS. 

Dudley (coming down C: to bench, where he seats him- 
self). Phil, it's good to see you again, good to be at home 
once more, good to be on the dear old campus. And yet, 
somehow, I feel as if I'd outlived it all ; as if — 

Philip (standing at back of bench). Dudley, four years 
ago I bore the message of your marriage to your mother. 
Today I am bringing you news of your wife. 

Dudley (starting up). My ziife — Honor? Don't tell me 
that, Phil, unless — unless — (eagerly) where is she? 

Philip. She is here. 

Dudley. And she has been — 

Philip. At college. Only her father and I have known 
her whereabouts. 

Dudley (angrily). So this is what your friendship has 
meant. You have known — you! What right had you, 
when I — 

Philip. The right that her friendship has given me. 
The right that I took when the lonely child, in the midst 
of her unhappiness, turned to me. Dudley Van Antwerp, 
heaven gave you a woman's heart — a tiny thing, yet so great 
that it would have sheltered you forever if your love had 
been steadfast and unchanging. Did you cherish it? Did 
you play the man? (Dudley stands before him zvitJwut 
speaking.) In a moment of madness you lost your happi- 
ness and hers. Each day yoti have learned your lesson. 
Each day her love for vou has grown stronger, deeper. 
And I— 

Dudley. Philip ! 

Philip. Can't you understand? Can't you realize what 
it has been to love her silently, hopelessly, without her 
knowledge? It's the old story of the moth and the flame. 
The light drew me on and, turning aside, there is only the 
dark. But I do not mind the pain, and there is no bitterness 
in my heart, for I have seen the beauty of it all. 

Dudley (humbly). Oh, Phil, Phil, you are far more 
worthy of her love than I ; you have been what I — 

Philip (interrupting). Be good to her, Dudley. Her 
love is a precious thing. And in the midst of your happi- 
ness, remember that I am your best friend and hers. (They 



A TRIAL OF HEARTS. 73 

look steadily at ea,ch other for a moment, then clasp hands. 
Exit Philip, L. 2 E. Dudley seats himself with head in 
hands. ) 

Enter Honor, R. 2 E., silently. 

Honor {after a pause). Dudley! 

Dudley (rising). Honor, is it really you, come back 
to me? 

Honor. It is really I. A little older, a little wiser, but — 
just Honor. 

Dudley. Oh, if I might try again, if I might show you 
how much you are to me, how I need you, how — (quickly) 
but I am not worthy to touch your hand, to stand before 
you. I do not ask you to forgive me for all I have made 
you endure. I ask only that you believe me, when I say 
that I love you ! 

Honor. Dudley, it has been a trial of hearts, but we 
have stood the test! We have been strengthened, purified 
and ennobled. The girlish love I gave you has never wa- 
vered for a moment. But the woman's love is infinitely 
deeper, stronger and tenderer. Dudley, if you want me, 
I am here. 

Dudley. Honor! (He goes quickly to her and takes her 
in his arms.) 

Curtain. 



The Dream that Came True 

By LINDSEY BARBEE. 

Price, 25 Cents 

Comedy drama in 3 acts; 6 males, 13 females. Time. 2% hours. 
Scenes: 3 interiors. Characters: Gordon Clay, foreman of the 
works. Charles Norton, the wealthy owner. Jack Brown, a cub 
reporter. Bobbie Byrnes, averse to college women. Billy Best, cap- 
tain of the 'varsity team. Lord Algernon, straight from England. 
Nan Worthington, one of the people. Margaret, loyal and true. 
Mrs. Jenkins, a boarding housekeeper. Angelina, her small daugh- 
ter. Louisa, one of the boarders. Florabel, a poetess. Mehitabel 
Biddle, a suffragette. Emmy Lou, fond of fairy tales. Mrs. Al- 
laire, the chaperone. Delphine, a college graduate. Peggy, a 
Browning fiend. Doris, an athletic girl. Nora, a maid. 

SYNOPSIS. 

Act I. — The impending strike. "It ain't so much the man that 
makes woman foolish, it's the lack of him." "Being a lady Miss 
Margaret is being just like you. "If ever the time comes when 
you need me, I shall stand the test." 

Act II. — "The strike's on." Gordon tells of his love for an- 
other. Norton refuses to make terms. Gordon plays his last trump. 
Margaret bids Nan prove that love is sacrifice. "I am to struggle 
on — alone." 

Act III. — "It's good-bye Gordon." "You're a dear, sweet little 
English Lord but I want to be under the stars and stripes." Nan 
has her revenge. "The factory girl can be generous." The dream 
comes true. 

Under Blue Skies 

By KATHARINE KAVANAUGH. 
Price, 25 Cents 

Comedy drama in 4 acts; 7 males, 10 females. Time, 2 hours. 
Scenes: 2 exteriors, 2 interiors. Characters: Bruce McCulloch, 
the man. Dick Warren, Edith's brother. David Joyce, Clare's 
father. Oscar Weber, a village swain. Old John, the gardner. 
Williams, a valet. Sleepy Heine. Clare, the girl. Edith, an heir- 
ess. Sara, the old housekeeper. Mrs. Weber, a troublemaker. 
Little Elsie and five neighboring women who have only a few lines. 

SYNOPSIS. 

Act I. — Mrs. Weber insists on the marriage between Oscar 
and Clare. "This has got to be settled one way or the other." 
Clare meets Miss Warren. Oscar finds the letter. "Clare Joyce 
is my affianced wife." "If you come near me I'll kill you!" 

Act II. — Scene I: Old John and the flowers.. Miss Warren finds 
Clare and Bruce together. Jealousy. The blow. "I'll make you 
sorry for this!" Scene II: Going to chapel. The love letter. Miss 
Warren and Oscar come to an agreement. "You'll never b^ able to 
hold up your head again." Humiliation. 

Act III. — Bruce unhappy. "I was playing with fire and I got 
mv fingers burnt." An unexpected visitor. "Our engagement is 
at' an end." Bruce proposes. The midnight marriage. 

Act IV. — The next morning. Breakfast. "Clare is not here." 
Mrs. Weber's story. "Your prayers and tears come too late." 
Bruce interrupts. "Clare Joyce is my wife." Happiness. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Old Oaken Bucket 

By MARY MONCURE PARKER. 

Price, 25 Cents 

Rural drama in 4 acts; 8 males, 6 females. Time. 2 hours. 
Scenes: 1 exterior, 1 interior. Characters: Reuben Hardacre, an 
honest old farmer. Tom, his son, a chip of the old block Arthur 
Ames, true blue. Mark Hayward, a wolf in sheep's clothing. Jake, 
a rustic lover. Ezra Bobb, the postmaster. G. WhiUikens, a 
neighbor. Rev. Mason, the peacemaker. Martha, Reuben's wife, 
Lizzie, the light of Uncle Reuben's eyes. Emilv, the sunshine of 
the household. Sapphira, the village gossip. Mrs. G. WhiUikens, 
proper, if not charitable. Miry, a country belle. 

SYNOPSIS, 

Act I. — "Reuben, you air so sot." "Jedge not." The village 
gossip makes things lively. The young artist recognizes a villain 
and also makes a conquest at the old well. Mark's education and 
good looks captivate Lizzie. "Meet me at the old log cabin at 
midnight." "Oh, Uncle, forgive me." 

Act IL — The early risers. "You read the letter, Tom, I can't." 
Sapphira bobs in. "I shudder to think I might have been drawed 
away." Reuben has a word to say to Sapphira. "Ain't nobody 
goin' to say a word agin' me or mine without gettin' acquainted 
with the way to the front door." True hearts and gingham skirts. 
Tom goes to find Lizzie. "He'll answer fer it with his life." 

Act III. — Jake reads the village paper. "Gals is queer critters." 
The Artist's return. The picture, "The Old Oaken Bucket," that 
brought fame and money. A stormy night — and a knock at the 
door. "It's Lizzie." The wanderer's return. "Yovi ain't been away 
from our hearts a minute." "God bless you for your sweet for- 
giveness." 

Act IV. — Ted's wedding day. A surprise party. Snow, sleigh- 
bells and merriment. The country dance. Lizzie's entrance — con- 
sternation. "How's Mr. Hayward?" The wrath of the sturdy old 
farmer. Rev. Mason intervenes. Tom asks Lizzie to be his wife. 
Sapphira wonders — "The idea of him takin' her when he could 
get me." 



The Rocky Rid^e Vaudeville Show 

By WILLIS N. BUGBEE. 

Price, 25 Cents 

Novelty entertainment. Eight complete vaudeville acts. Char- 
acters optional, about 25 males, 8 females. Many of the parts may 
be doubled so that it can be easily produced with 20 adults and 3 
children. Time, a full evening. The leading citizen and corner 
grocery store wit of a small rural town visits a large city and at- 
tends a vaudeville show. He is enthusiastic over it and cm his 
return, with local talent, puts on a similar performance at the 
town hall, which proves a stupendous success. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Savage land 

By WALTER BEN HARE. 

Price, 50 Cents 

Musical comedy in 2 aicts; 5 males, 5 females and chorus. 
Time, 21/^ hours. Scenes: 2 exteriors. Characters: Jake Heinz, 
the fifty-ninth variety. Sherlocko Combs, a defective detective. 
Buckskin Buddy, from Savageland. Gilroy Clay, in love. Big Chief 
Heap Much Scalpem. Marigold Lee, the Quaker maid. Daffodil 
Dotty, poetess of passion. Birdie Magoogin, the Irish Cinderella. 
Ysobel, in vaudeville. Wee-nah, the marble lady. Contains nine 
catchy songs: "Summer Girlies," "Fair Quaker Maid," "The Mod- 
est Blossom," "Letter Song," "Ho, for the West," "He Never Came 
Back Again," "The Little Birch Canoe," "The Message of the Red, 
Red Rose" and "Tvvinlvle Doodle Dum." Five of the songs are set 
to original music by Henry Bethuel Vincent. The remainder are 
sung to familiar college airs. The foundation of the plot is laughter, 
carefree, a bit of satire, a touch of sentiment, wliich combined, 
will make you understand that life's a merry jest in Savageland. 
Detailed directions given with eacli musical number for the ar- 
rangement of the chorus, marching, stage pictures, etc. 

First produced by The Savage Club at Cornell University. Suit- 
able for any occasion and especially recommended for college and 
high school productions. 

SYNOPSIS. 

Act I. — The Summer Girls and the Little Quaker Maid. Sher- 
locko Combs, the wonderful detective, searching for a missing 
heiress. "She's wortli a million, has a green shamrock tatooed 
on her right wrist and wears a No. 10 shoe." Buckskin Buddy 
from Savageland looks for the detective. A missing pitcher of 
pearls. Slierlocko on the trail. .Take Heinz, the fifty- ninth variety, 
becomes a Doctor Watson. Clay finds that the course of true 
love never did run smootlily. Miss Daffodil Dotty, the poetess 
of passion, has an inspiration. The Cowboy and tlie Lady. "Ho, 
for tlie West!" A living statue. Birdie Magoogin's story. The 
new cook shows her temper. Jake Heinz, on the trail, proves 
himself a liero. Jake finds the missing heiress and wins her for 
his bride. "Tlien hit the trail for Savageland, three thousand 
miles away!" 

Act II. — In the Savage Mountains. .Jake and Birdie on their 
honeymoon. The automatic carbuncle of the automobile explodes. 
"Ye should have used soothing syrup instead of gasoline." The 
Duchess Heinz entertains with a green tea. The Scotch Laird of 
Kilkuse. "Hoot, mon, hoot!" "He talks like an owl — because he's 
from the owld country." Music lessons in Savageland. "He has 
a cadenza like a flamingo and warbles like an aurora borealis!" 
Marigold realizes that the old love is the best love. The Yaki 
Indians and their Chief, Heap Much Scalpem. A pipe of peace. 
The Chief throws dust and declares war. The missing Goddess of 
Love. Slierlocko exposed. The storm in the mountains. Lightning 
strikes an old tree, it falls apart and discloses the goddess, 
Wee-nah. "The wonderful Sherlocko never fails." 

"A capacity audience at the Lyceum Theater last night was 
given two hours of unalloyed fun with the Savages in 'Savageland' 
and many were the regrets wlien Wee-nah was discovered and 
there was nothing left to do but to return to Ithaca and the work- 
aday world." — Ithaca Evening New^s. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Macbeth a la Mode 

By WALTER BEN HARE. 

Price, 25 Cents 

School burletta in 3 acts; 7 males, 7 females, also teachers, 
students, etc., with only a few lines. Time, IM hours. No scenery 
required, merely a front curtain and an easel with placards an- 
nouncing scenes. Plot: Willie Macbeth is the social leader of the 
Senior Class. With his friend Banquo he encounters Three 
Witches, who prophecy that he will pass his examinations, be 
elected to a class office and will play on the football team. The 
first two prophecies come true and in Act II, Lady Macbeth, his 
mother, arranges for him to play on the football team, bv drugging 
the captain. Macbeth flies to the witches for further advice and 
learns that he will make a touchdown. He does, but runs with 
the ball toward the enemy's goal, thus losing the game for his 
own team. Contains five songs: "Fairwell, Mv Fairy Fay," 
"Tact," "The Senior Class," "Music and Laughter" and "Good 
Night," all sung to college airs. This play is very humorous and 
particularly adapted for schools. 

THE WITCHES' CHANT 



Round about the cauldron go; 

Mathematics you must know. 

Let X equal the cold stone. 

When will Y be thirty-one? 

Drop that in the mystic pan; 

Tell me, pray, how old is Ann? 

Double, double, boil and bubble, 

Matliematics makes them trou- 
ble. 

Fillet of a fenny snake. 

In the cauldron boil and bake; 

Eye of newt and toe of frog, 

Wool of bat and tongue of dog, 

Biology makes 'em cut and jab. 

Thirteen hours a week in lab. 

Latin, Greek and German, too. 

Fifty pages make a stew. 

And to thicken up the mystery. 

Take two chapters English His- 
tory. 

Physics, French and English Lit, 



Spend an hour on each or git. 
All niglit long from six to three, 
Study math and cliemistry. 
In the liours when you should 

dream. 
Write an English twelve-page 

theme. 
Work at night and Sunday, too. 
Outside reading you must do. 
Next day, when you're on the 

bunk. 
Teacher springs exam — you 

flunk. 
Double, double, boil and bubble, 
High school life is full of trouble. 
Cool it with a Freshman's blood. 
Then the charm is thick and 

good. 
By the pricking of my thumbs, 
Sometliing wicked this way 

comes. 



Reminiscences of the Donation Party 

By JESSIE A. KELLEY. 

Price, 25 Cents 

The soliloquy of a minister's wife, with tableaux. For 40 or 
more characters, both sexes, altliougli tlie number is optional and 
it can be presented with a smaller cast. Time, about 35 minutes. 
The wife at the side of tlie stage recounts the many amusing 
incidents of the party, tells who attended and wliat they brought, 
etc. The characters appear in pantomime. Tliis entertainment is 
unique. It fills the demand for something tliat can be put on "at 
the last moment." It eliminates the usual long preparations re- 
quired in prod vicing a play; no parts to memorize and it can be 
played on any platform. Highly liumorous, replete with local hits 
and, strongly recommended for church societies. 

T, S. DENISON & COMPANY, Publishers 

154 W, Randolph Street, CHICAGO 



The Royal Highway 

By CHARLES ULRICH. 

Price, 25 Cents 

A comedy-drama in 4 acts; 8 males, 3 females. Time, 21/^ 
hours. Scenes: 3 interiors. Characters: Arthur Morgan, a law- 
yer. Cliarles Williams, a mine superintendent. Bill Hampton, a 
political boss. Harry Felton, a clerk. Horace Allen, a secretary. 
Rev. Jordan, a Methodist minister. Jimmy Farrell, an ex-convict. 
Sam Harrison, a detective. Margaret Ames, known as Miss 
Holmes. Lucy Matthews, a stenographer. Mrs. Mary Jones, presi- 
dent of the Ladies' Aid Society. 

SYNOPSIS. 

Act I. — The game of modern politics. The bribe. Morgan 
defies a political boss. "I'll crush you like I would a fly!" An 
anonymous philanthropist. The compact and avowal of love. The 
robbery and accusation. Margaret saves Morgan's honor. "No. 
it wac; Providence!" 

Act II. — "I wish I had a millionaire friend like Miss Ames!" 
Farrell butts in. "Youse is playing a game of hearts what ain't 
in your contract." "Williams divides the spoils. Margaret defies 
Williams, "Where did you get that money?" A villian's kiss and 
punishment. The power of attorney. "You'll be at my feet cry- 
ing for mercy!" 

Act III. — "Who is this anonymous philanthropist?" "The New 
York police are looking for you!" The tables turned. "I'll get 
your measure all right!" The story of Morgan's sorrow. "I could 
not forgive the woman who deceived me!" The nomination and 
accusation. Margaret's joy. "You are indeed a man among men!" 
Act IV. — "This svispense is driving me mad!" The letter. "I'm 
on the track of the man who killed my sister!" The convict's 
secret. "Williams was my pal in Sing Sing!" Margaret reveals 
herself. "Gee! She's an iceberg!" "How little you know of true 
love!" Williams pays the penalty of treachery. Harry's promo- 
tion. On the royal highway. 

Re-Taming of the Shre^v 

By JOHN W. POSTGATE. 

Price, 25 Cents 

Humorous Shakespearean travesty in one act; 6 males. 5 females. 
Time, about 45 minutes. One simple interior scene. Characters: 
Petruchio, Angelo, Duke of Illyria, Othello, Macbeth, Grumio, 
Katherine, Mariana, Viola, Desdemonia and Lady Macbeth. Plot: 
After her woeful honeymoon, Katherine becomes an ardent suf- 
fragist and imposes household duties on Petruchio, who submits 
to petticoat government. At a meeting of the women, man's doom 
as a political or domestic power is announced. The women return 
to Petruchio's home to find their husbands having a high old time. 
A lively controversy ensues but the men win the day when they 
threaten to appeal to the divorce courts. This travesty draws 
material from "Taming of the Shrew," "Measure for Measure," 
"Twelfth Night," "Othello" and "Macbeth." It retains many of 
the original lines from the plays, yet most ingeniously devised to 
fit the conditions of today. Costumes either Shakespearean or 
modern. Especially recommended for schools, colleges, etc. Re- 
plete with humor and should please any good club or society. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Thread of Destiny 

By LINDSEY BARBEE. 

Price, 25 Cents 

Comedy-drama of the Civil War in 3 acts; 9 males, 16 females. 
Time, 2% hours. Scenes: 1 interior, 2 exteriors. Characters: 
Peyton Bailey, of the U. S. army. Beverly Montgomery, a con- 
federate scout. Colonel Montgomery, a gentleman of the old school. 
Tom Randolph, a Southern gallant. John Morton, of the North. 
Ralph, who did not go to war. George and Uncle Billy, slaves. 
A Union Scout. Virginia, the toast of the country. Betty, the 
"Little Colonel." Edith, a northern cousin. Louise, a spy. Eight 
charming southern girls. Mrs. Montgomery. Miss Melissy, of in- 
quisitive nature. Fanny and Mammy, slaves. 

SYNOPSIS. 

Act I. — Betty breaks a looking glass. Edith calms her fears 
and tells her "the signs of the times." "Virginia has seceded." 
Beverly enlists. "A Virginia woman does not even recognize an 
acquaintance among the enemies of Virginia." 

Act II. — "I don' wan' no tarnished silber linin' to my cloud." 
"There are some things more precious than money, than jewels." 
"Death cannot conquer love — nor eternity." "Some day there will 
be no North, no South, but the Union." The Union scout falls a 
prey to Edith's fascinations and her cleverness wins the coveted 
dispatch. Virginia opens the door — to Peyton. Beverly is dis- 
covered. Friendship proves stronger than duty. 

Act III. — Three years work a great change. Peyton pleads in 
vain. George and Fanny "take de road to de Ian' of happiness." 
"In our little circle the stars and bars are floating high." Virginia 
gives Peyton another rose and together they trace against the 
background of blue and gray "the golden thread of destiny." 



Shadows 



By MARY MONCURE PARKER. 

Price, 15 Cents 

Play of the South today and a dream of the past in 1 act; 
an interior scene; 3 males, 4 females. Time, 35 minutes. Charac- 
ters: Prologue and the Awakening: Robert Ashton, Virginia's 
sweetheart. Aunt Geranium, an old colored mammy. Virginia Lee, 
a southern maid. The Dream: Gordon Sanford, a soldier in love 
with Alice. Harold Hale, the successful rival. Mrs. Horace 
Fairfax, a stern mother of long ago. Alice Fairfax, her dutiful 
daughter. STORY OF THE PLAY. 

Virginia Lee's mother insists upon her marriage with a rich 
suitor, who has agreed to restore their impoverished estate. Vir- 
ginia has a sweetheart of her childhood days and hesitates in 
making a choice, but finally decides upon wealth instead of love. 
An old colored mammy, who has spent her life in the Lee house- 
hold, understands the situation and tells Virginia of a similar 
episode in the life of Virginia's grandmother. Virginia in ponder- 
ing over tlie incident and grieving over her own troubles, falls 
asleep. She dreams of the story just told and the dream folks 
appear and play their parts. Virginia awakens, the shadows flee 
and she comes to her senses and her lover. 

The old colored mammy says: "Dis heah ole worl's jes' full 
of shadders. Fokes comes an' dey goes, ripens and drops like the 
fruit on de tree. Ole Mai's is gone, old Mistis gone. De substance 
melts and fades away. Ain't nothing left Init shadders." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



Parlor Matches 

By WALTER BEN HARE. 

Price, 25 Cents 

An engaging comedy of society, 2 acts; 4 males, 5 females. 
Time, l^/^ hours. Scene: 1 simple interior. Characters: Vance 
Trelford, a professional hero, who doesn't want to be engaged. 
Don Radey, his cousin, a serious young man, engaged, thank you. 
i^'erdinand Poppleton, a frivolous young man, likewise engaged. 
Jorkes, the butler, who may or may not be engaged. Mrs. Seltoon, 
who believes in engagements. Margaret Seltoon, her elder daugh- 
ter, engaged to Mr. Radey. Suzanne Seltoon, liar younger daughter, 
engaged to Mr. Poppleton. Gail Lawrence, her ward, engaging 
and eventually engaged. Abigail Mullen, A. B., her maid, tem- 
porarily engaged, as it were. 

SYNOPSIS. 

Act I. — A morning in June at Solitaire Villa, Dovecote. Mrs. 
Seltoon smooths out the course of true love. "Whoever heard 
of a grass widow playing a heroine in a love scene?" "Oh, it's 
one of the best things they do." Mrs. Seltoon seeking a man for 
her niece. "What is his yearly income?" The butler's opinion 
of a woman A. B, "Near-sighted, men's shoes, short bedrabbled 
skirts, last year's hat and a banner saying Votes for Women!" 
Tlie new maid who is a graduate from the Splinterville Normal. 
The moving picture hero. "Women make me nervous. I always 
keep out of their way." Symptoms of hydrophobia. "I bark, bow- 
wow-wow!" "His father is in oil and vinegar." "Is it a new kind 
of a bath?" Gail announces her engagement to the moving pic- 
ture hero. "He's here in town!" "Fall, O walls, and crush me!" 

Act II. — A dinner party. Ferdy decides to enlist in the army. 
A reconciliation. Abigail and Adrian Lee of the movies. "Tliose 
eyes, that nose, it's him?" "I've seen you propose in white 
flannels, in feathers, in full evening clothes, in a sailor suit, 
and in the garbage of a monk, and every time you've won her in 
the end." Gail and her fiancee. That odious Mr. Trelford. Din- 
ner is served. Vance Trelford learns that he is engaged. "I ex- 
pected it all along." "Yes, I begin to think that I did it myself." 

Sewing for the Heathen 

By WALTER BEN HARE. 

Price, 15 Cents 

Entertainment for 9 ladies, either j'oung or middle-aged. Time, 
40 minutes. Can be played on any stage or platform, or even in 
any room. Very refined. Suitable for church or any society. Char- 
acters: Mrs. Judd, the hostess. Mrs. Chester, the president. Mrs. 
R. B. Powers, the stranger. Grandma Gibbs, deaf but persistent. 
Miss Luella Huggins, so sentimental. Mrs. Strong, a suffragist. 
Mrs. Meeker, gentle and good. Mrs. Day, a bride. Meely, the 
hired girl. SYNOPSIS. 

An anxious liostess. Meelj' wants to serve winny-wurst sand- 
wiches and noodle soup. The mystery of the jardeniere. The 
President arrives before she is expected. "It was her hair; she 
hadn't got it all on yet." Red flannels for the Hottentots in the 
middle of Africa. A stranger in town, the rich Mrs. Powers. A 
trip down town. Grandma Gibbs and her ear-trumpet. The rich 
Mrs. Powers is mistaken for the dressmaker. The meeting of the 
society. A little tiff. The giddy Miss Huggins is late as usual. 
A present from the men. "Sewing for the Heathen." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Price 15 Cents Each, Postpaid, Unless Different Price Is Given 



M. F. 

Documentary Evidence, 25 min. 1 1 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in a Photograph Gallery, 

30 min 6 10 

Great Doughnut Corporation, 

30 min 3 5 

Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 

Happy Pair, 25 min 1 1 

I'm Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Carver's Fancy Ball, 40 m. 4 3 
Mrs. Stubbins' Book Agent ^0 

min 3 2 

My Lord in Livery, 1 hr.... 4 3 

My Neighbor's Wife, 45 min.. 3 3 

My Turn Next, 45 min 4 3 

My Wife's Relations, 1 hr 4 6 

Not a Man in the House, 40 m. 5 

Obstinate Family, 40 min 3 3 

Only Cold Tea. 20 min . . 3 3 

Outwitting the Colonel, 25 min. 3 2 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min....... 4 3 

Pat, the Apothecary, 35 min.. 6 2 

Persecuted Dutchman, 30 min. 6 3 

Regular Fix, 35 min,-., 6 4 

Rough Diamond, 40 min 4 3 

Second Childhood, 15 min.... 2 2 

Smith, the Aviator, 40 min... 2 3 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Treasure from Egypt, 45 min. 4 1 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m. 4 

Two Bonnycastles, 45 min.... 3 3 
Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Correspondent, 45 m. 4 4 

Wanted a Hero, 20 min 1 1 

Which Will He Marry? 20 min. 2 8 

Who Is Who? 40 min _. . 3 2 

Wide Enough for Two, 45 min. 5 2 

Wrong Babv. 25 min 8 

Yankee Ped'dler, 1 hr 7 3 



VAUDEVILLE SKETCHES, IMON- 
OLOGUES, ETHIOPIAN PLAYS. 

M. F. 

Ax'in* Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m.lO 

Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Coon Creek Courtship, 15 min. 1 1 

Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m.l4 

Counterfeit Bills, 20 min 1 1 

Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min 2 

Five Minutes from Yell Col- 
lege, 1 5 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 

Glickman, the Glazier, ,25 min. 1 1 

Handy Andy (Negro), 12 min. 2 

Her Hero, 20 min 1 1 

Hey, Rube ! 1 5 min 1 

Home Run, 15 min 1 1 

Hot Air, 25 min 2 1 

Jumbo Jum, 30 min 4 3 

Little Red School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Mr. Badger's Uppers, 40 min. 4 2 
One Sweetheart for Two, 20 m. 2 

Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10 

min 1 

Pickles for Two, 15 min..... 2 

Pooh Bah of Peacetown, 35 min. 2 2 

Prof. Black's Funnygraph, 15 m. 6 

Recruiting Office, 15 min 2 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 15 min. 2 

Stage Struck Darky, 10 min.. 2 1 

Sunny Son of Italy, 15 min.. 1 

Time Table, 20 min _. . 1 1 

Tramp and the Actress, 20 min. 1 1 

Troubled by Ghosts, 10 min... 4 

Troubles of Rozinski, 15 min.. 1 

Two Jay Detectives, 15 min.. 3 

Umbrella Mender, 15 min.... 2 
Uncle Bill at the Vaudeville, 

15 min 1 

Uncle Jeff, 25 min 5 2 

Who Gits de Reward? 30 min. 5 1 



A great number of 

Standard and Amateur Plays 

not found here are listed in 

Denlson's Catalogue 



T. S. DENISON & COMPANY, Publisliers,154 W. Randolph St. , Chicago 



LIBRARv OF 



POPULAR ENTERTAI 

Price, Illustrated Paper Cov 



(food cTninas foe 

' WASHINGTON 

CiBo' LINCOLN 




I 



N this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attrac t i v e 
individual cov- 
er design. 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

\'ery clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Brand new, original, successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose and poetry. 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 
Monologues Grave and Gay. 

Dramatic and humorous. 
The Patriotic Speaker. 

IMaster thoughts of master minds. 




Wit, humor, satnv,, .. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. 14 Nos., per No. 25c. 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 1 1 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

]Monologues, dialogues, drills. 
Children's Party Book.. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogues, drills. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variet}' of material. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for all ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Black American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland,via the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jok^s, gags, etc. 

Large IIEustrated Catalogue Free 



T.S. DENISON & COMPANY, Publishers, 1 54 W. Randolph St., Chicago 



